Embodiment. What is special about the artistic embodiment of foolishness in works of art? What attracted us to planet Earth?

Shemyakina Maria Konstantinovna

Belgorodsky state institute culture and arts

FEATURES OF THE EMBODIMENT OF THE CONCEPT OF “RENAISSANCE” IN THE CULTURAL TRADITION (theoretical analysis)

The term “revival” in cultural ambiguity can be considered as a model of the historical dynamics of the existence of culture. In this understanding, the concept of “revival” should be understood as a natural mechanism of cultural change, based on the repeatability of plots of development of cultural elements, which lay the basis for its stability and the energetic force of restoration.

Key words: concept of “revival”, historical dynamics of cultural existence, mechanism of cultural change.

In modern cultural studies, perhaps, there is no more complex definition than the definition of culture itself. As a number of researchers note, on modern stage development of cultural science, the overall idea of culture can be reduced to the terminological use of the concept “culture” in two meanings - “broad” and “narrow”. ““In a broad sense,” writes E.V. Sokolov, culture includes all social forms of life established in society - customs, norms, institutions, including the state and the economy. In the “narrow sense,” the boundaries of culture coincide with the boundaries of the sphere of spiritual creativity, with art, morality, and intellectual activity.”

The term “revival”, with the same cultural ambiguity, can be considered in several senses.

The Renaissance as an era and culture arose in Italy in the 16th century. as a result of understanding the cultural innovation of the historical interval between the Middle Ages and the New Age. This concept denoted the first brilliant flowering of culture, humanities, and art since antiquity, which began after a long, almost thousand-year decline.

The term Rinasdta (Renaissance) was proposed by the Italian painter and art historian Giorgio Vasari in the 16th century in his work Lives of the Most Famous Painters, Sculptors and Architects. Having defined the main characteristics of the era, the thinker designated this time as a period of comprehensive development of new art, predetermined by worldviews that were different from before, combining secular character and humanitarianism.

manistic orientation of all spheres of life with an appeal to the ancient heritage, as if reviving past models.

In the 19th century in relation to the Renaissance, the French term “Renaissance” was established and firmly entered into Russian speech. The motto and main idea of Renaissance culture was the appeal to the “primary sources of knowledge”, the restoration of connections with the cultural traditions of antiquity that were largely lost in the Middle Ages. As noted by A.I. Chernokozov, this combination of often antagonistic opposites gave the very concept of “meaningful life” in its integrity and inseparability, when “material and spiritual, earthly and divine, Christian and pagan sound in a single harmonic polyphony.” The art of the Renaissance will confirm the same thought of A.A. Radugin, was “a kind of synthesis of ancient physical beauty and Christian spirituality.”

The Renaissance, as a historical era and phenomenon in the development of not only Italy, but also many European states, was determined by the presence of a number of characteristics that should be in manifestation. They could be listed as follows:

1) the emergence of a new type of culture, distinguished by its creative character and dynamic structure;

2) enrichment of culture by exerting a significant influence on the worldview of its carriers (as an example, we can consider the abundance of scientific discoveries and technical inventions that enter everyday life and change it forever);

3) the transition from a medieval way of life to a technological one (and if we consider

more broadly, a change in economic formations, which, of course, was associated with the categories of state reorganization);

4) a change in the management mechanism, which naturally entails the emergence of new social realities, antagonistic contradictions, expressed in irreconcilable opposition between classes (and possibly even religious contradictions: a change social role churches and religions in general), and, as a consequence, external and internal imbalance with a tendency towards consolidation, attempts to find common centralizing foundations that can unite carriers of culture on the basis of traditions, language, common roots;

5) developing the idea of national unity based on socio-political unity and cultural factors;

6) the struggle between materialistic rationalism and sensual-religious experience, when the attraction to a mystical comprehension of meaning or religious revelation provides the foundations for a worldview. “The secret of the Renaissance... - V.V. will say. Rozanov, lies in the treasures themselves, in the fact that, under the influence of the harsh ascetic ideal of mortifying the flesh within oneself and limiting the impulses of one’s spirit, man only saved and did not know how to spend anything. In this great thousand-year silence. in this forced closing of eyes to the world... in thousand-year prayers. images of Madonnas emerged.” ;

7) approval of the humanistic principle as the axial direction in the development of culture: the spiritual self-affirmation of man in the world, recognition of the greatness of his natural beauty and possibilities creative transformation the surrounding world; harmonious interpenetration of secular, church and folklore principles, inclusion of ancient heritage in art (painting, literature, theater, architecture, music).

Reflections on the origins humanistic culture will bring A.N. Veselovsky to the idea, on the one hand, of the inscription of the history of the Renaissance into the “history of thought” as a special formative stage of Western civilization, and, on the other hand, of the extension of the anthropological principle of structuring society to individual stages of the development of human culture.

This is how the concept of “rebirth” is born, which should be considered not

so much as a historical era, but as a model of the historical dynamics of the existence of culture.

Every nation, A.I. will emphasize. Chernokozov, “in its historical development, is experiencing an era when, after a long decline, its economy and culture are flourishing. The phenomenon of the transitional era as an independent phase of the cultural process is a common historical pattern which many peoples experience in different historical periods." The pattern that determines the development of culture is perceived by culture itself as a natural mechanism for its change.

This has happened more than once in world history. An example of this is the historical era that ushered in a cultural upsurge in France and Germany until the 14th century. The cultural upsurge in the empire of Charlemagne and in the kingdoms of the Carolingian dynasty in the 8th-19th centuries is usually called the “Carolingian revival” (the ideologist of the cultural upsurge was Flaccus Albin Alcuin, an Anglo-Saxon scientist from the Tours monastery).

It is precisely this feature of cultural development that M.S. will notice. Kagan, discussing three possible paths for the movement of culture from the old to the new: “.In the sphere of secular consciousness (scientific, artistic, philosophical) - along the path of the Renaissance, relying on partly preserved, partly ancient heritage; in the field is still quite strong religious consciousness- along the path of the Reformation, in its various modifications; in the sphere of political consciousness - along the path of theoretical and practical republicanism, the ideas of democracy and utopian socialism."

Thus, as culturally determined ideas about culture, the concept of “revival” will always mark a “milestone”, a “crisis”, which is necessarily followed by either its overcoming, or the complete and unconditional overthrow of previous cultural attitudes.

That is why the system of values formed by the concept of “rebirth” can rightly be attributed to the final, final values of human existence. As noted by Yu.N. Solonin, M.S. Kagan, such values are considered the highest ideals of human existence. “They,” notes M.K. Mamardashvili, -are the ultimate goals of human lips-

remleniya, the main life guidelines. human life, freedom, justice, beauty. honor and dignity of the individual, legality, humanism. “These are things that produce themselves.”

The system of values will consist not only of the way of relating to the world, but also of the ways of transmission - the transfer of these achievements to subsequent generations. And, probably, the latter will turn out to be more significant and fundamental for the preservation of culture itself, since only in the transmission of the axiology of the “axial time” is its preservation and development seen. “For many cultures,” A.I. will determine. Chernokozov, - in certain periods of their existence, what is relevant is not even the classical and consistent progress of creative possibilities, but, at a minimum, the preservation, or, in case of loss, restoration, revival of the natural and original ability for true subjectivity. The Renaissance became a historical era in which both the energy of a natural primitive society and the possibilities of a new social integrity associated with the emancipation and stimulation of human creative abilities were embodied in a harmonious form, not burdened by a dominant civilization.”

The study of culture in this aspect is an unconditional form of comprehending culture in its dynamic aspect, “recreating a kind of “sample” of culture of each historical era as a single whole, in which a new, higher stage of development of human creative powers is concentrated, matured and realized, its enrichment as personalities." At the same time, the type of culture will reflect the originality of the method of renewal and accumulation of experience adopted in a given society.

In this understanding, the concept of “revival” should be understood as a natural mechanism of cultural change. And observations in the field of cultural development will lead to the study of the vertical of its changes, when the vertical will be understood as “the discovery of new forms of culture”, “the quintessence of the creative and productive principle”, “the process of temporary development of culture, its historical character, the principle of continuity, the transition of previous cultural forms or elements into new cultural formations".

Distinguishing the types of cultures according to the criterion of a dominant orientation toward preservation or change will determine two existing models: cultures oriented toward preservation, which include ancient and modern “primitive” cultures, and cultures in which the vector of change predominates (other cultures). Naturally, the mechanism of action of the concept “revival” will be characteristic of the latter - cultures whose development is based on the idea of the collapse and revival of cultural traditions (Russian ternary type, as defined by Yu.M. Lotman). At the same time, cultural universals will be central in preserving the axis of culture and reviving the axiological periphery.

But whatever the vector of culture change turns out to be, it is based on the repeatability of the plots of its development, and in this repeatability of certain elements lies the basis for its stability and energetic power of restoration. In culture, nothing dies, but, receding into the background, is restored under favorable conditions - in fact, this serves as both the essence and the condition for the action of the concept of “rebirth”.

It was this idea that Yu.M. tried to express. Lotman, emphasizing that “culture always implies the preservation of previous experience. Moreover, one of the most important definitions of culture characterizes it as the “non-genetic” memory of the collective. Culture is memory. Therefore, it is always connected with history and always implies the continuity of the moral, intellectual, spiritual life of a person, society and humanity. Therefore, when we talk about our modern culture, we, perhaps, without knowing it, are talking about the enormous path that this culture has traveled. This path goes back thousands of years, transcends the boundaries of historical eras, national cultures and immerses us in one culture - the culture of humanity.”

A similar thought, couched in the idea of an “ascending ladder” or “schematism” dramatic work”, at one time voiced by V.S. Bibler. The researcher drew attention to the fact that in the history of human existence two forms of “historical heredity” can be identified. And if one form - the “ascending ladder” - represents a progressive

Bulletin of KSU named after. N.A. Nekrasova ♦ No. 3, 2011

development, then the second, explaining the schematism of the “dramatic work,” will be based not on primary knowledge, but on repetition as the sum of knowledge included in a single layer of culture.

Just as in a drama, the scientist argues, “with the appearance of a new character (a new work of art, a new author, a new artistic era) old “characters” - Aeschylus, Sophocles, Shakespeare, Phidias, Rembrant, Van Gogh, Picasso. do not leave the stage, are not “removed” and do not disappear into a new character, into a new acting person. Each new character reveals, actualizes, and even for the first time forms new properties and aspirations in the characters who previously appeared on the stage. Even if some hero leaves the stage forever, or - in the history of art - some author falls out of cultural circulation, his active core still continues to become denser, the lacuna itself, the gap, acquires increasing dramatic significance."

A single thought regarding the development of culture in the context of understanding the mechanism of the concept of “revival” will thus be equally ambiguous: the development of culture cannot be outlined in clear and clearly understandable outlines. Let us agree in this observation with P. Florensky, who tried to express his idea of culture as an extremely heterogeneous substance, consisting of various layers, strata, and levels. These are the levels of symbolism and its perception, that is, the ability to understand symbolism, to see through it the mystery of the universe and its meaning.

The designated levels can be conceptualized as levels of special practice - symbolization of the world, description and typologization of symbols, creation and recreation of conditions in which symbols function precisely as symbols, and not as empty or incomprehensible signs. Being at a low level of cultural symbolism, a person does not have access to higher symbolism, closer to a cult. But with a decrease in the general cultural level (primitivization of symbolic practice), a cultural layer is still preserved in which the practice of symbolism is maintained at a very high, esoteric level. Those who belong to this layer are the guardians and creators of “high” culture, priests of the cult, who own

"secret knowledge". These subjects of culture, new people, are destined to overcome the crisis and lead culture out of disaster. And in the revival of culture we will see its new beginning.

The concept of “revival” in the features of comprehension cultural development involves taking into account changes in the culture itself. The substantive content of the concept focuses not only on preserving previous experience, but on restoring, returning to life certain patterns. And this scheme of action of the concept of “revival” in various cultural paradigms is universal. It is no coincidence that cultural theorists are unanimous in the opinion that the specificity of expressing the substantive beginning of the concept is not a characteristic of only a European phenomenon, but a feature of the development of Russian culture. It is obvious that the concept of “rebirth” can be read in the features of the semiotic development of its domestic analogue.

Bibliography

1. Bibler V. S. From scientific teaching to the logic of culture. - M., 1991. - 154 p.

2. Veselovsky A.N. Boccaccio // Collection. op. -T. 5. - L., 1956. - 425 p.

3. Drach G.V. Culturology: Textbook. manual for higher education students educational institutions. - Rostov-on-Don: Phoenix, 2000. - 608 p.

4. Kagan M.S. Philosophy of culture. - St. Petersburg: Petropolis, 1996. - 491 p.

5. Culturology / comp. and resp. ed. A.A. Radu-gin. - M.: Center, 1997. - 304 p.

6. Culturology: textbook / pod. ed. Yu.N. Solonina, M.S. Kagan. - M.: Higher education, 2008. - 566 p.

7. Lotman Yu.M. Conversations about Russian culture. -SPb., 1994. - 478 p.

8. Oganov A.A., Khangeldieva I.G. Theory of culture: Textbook. manual for universities. - M.: FAIR PRESS, 2003. - 416 p.

9. Rozanov V.V. Religion, philosophy, culture. - M., 1992. - 312 p.

10. Sokolov E.V. Culturology. Essays on the theory of culture: A manual for high school students. -M., 1994. - 269 p.

11. Chernokozov A.I. History of world culture (Short course). - Rostov-on-Don: Phoenix, 1997. - 480 p.

EMBODIMENT

EMBODIMENT, incarnations, cf. (book).

1. Taking on a body image; in religious teachings - the adoption by God of a human image (rel.).

2. Transition into reality, implementation in a concrete form. This poem is a poetic embodiment of social ideals.

3. The most perfect implementation of any quality. This girl is the epitome of modesty.

Dictionary Ushakova. D.N. Ushakov. 1935-1940.

Synonyms:

See what “EMBODIMENT” is in other dictionaries:

Juggernaut, objectification, avatar, expression, personification, incarnation, incarnation, sample, reincarnation, materialization, ideal, implementation, execution, imprinting, fulfillment, objectification, sample, transformation Dictionary of Russian... ... Dictionary of synonyms

Literary encyclopedia

INcarnation, I, cf. 1. see embody, xia. 2. what. The one (that) in whom (what) some n.s. characteristic features, properties, personification (2 meanings). This man in. kindness. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

Embodiment- INcarnation. The poet’s artistic intention, in order to realize itself, must take on a concrete form: this act of formalizing a poetic idea and its emergence from an ugly, chaotic state is an act of embodiment. In the creative process he... ... Dictionary of literary terms

embodiment- - Topics oil and gas industry EN illustration ... Technical Translator's Guide

EMBODIMENT- [Greek ἐνσάρκωσις, lat. incarnatio], the key event in the history of salvation, consisting in the fact that the eternal Word (Logos), the Son of God, the Second Person of the Most Holy. Trinity, took on human nature. Belief in the fact of V. serves as the basis of Christ. confessions... ... Orthodox Encyclopedia

Christianity Portal: Christianity Bible Old Testament · New Testament ... Wikipedia

embodiment- ▲ focus property embodiment of what possession of what l. property as a basic one, to a high degree; absolute expression of what l. ideas; the center of what l. properties; embody. in the flesh (angel #). personification of endowment... ... Ideographic Dictionary of the Russian Language

The Son of God, the Savior of the world, Jesus Christ had a real human nature, received from His Mother, the Blessed Virgin Mary, and was on earth in a body similar to ours. In this sense, the incarnation is the main church dogma. He's clear... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

embodiment- a vivid embodiment... Dictionary of Russian Idioms

Books

Embodiment. Book 7, Tim LaHaye, Jerry B. Jenkins. In the seventh book of the Left Behind series - Incarnation - into the war for human souls new forces are coming. Dr. Zion Ben-Yehuda, former rabbi and now spiritual leader of millions of believers, meets...

It seems to me that there are not and cannot be people who are indifferent to poetry. When we read poems in which poets share their thoughts and feelings with us, talk about joy and sadness, delight and sorrow, we suffer, worry, dream and rejoice with them. I think that such a strong response feeling awakens in people when reading poems because it is precisely poetic word embodies the deepest meaning, the greatest capacity, maximum expressiveness and extraordinary emotional coloring.
Also V.G. Belinsky noted that a lyrical work can neither be retold nor interpreted. Reading poetry, we can only dissolve in the feelings and experiences of the author, enjoy the beauty of the poetic images he creates and listen with rapture to the unique musicality of beautiful poetic lines!
Thanks to the lyrics, we can understand, feel and recognize the personality of the poet himself, his spiritual mood, his worldview.
Here, for example, is Mayakovsky’s poem “Good Treatment of Horses,” written in 1918. The works of this period are rebellious in nature: mocking and disdainful intonations are heard in them, the poet’s desire to be a “stranger” in a world alien to him is felt, but it seems to me that behind all this lies the vulnerable and lonely soul of a romantic and maximalist.
Passionate aspiration for the future, the dream of transforming the world is the main motive of all Mayakovsky’s poetry. Having first appeared in his early poems, changing and developing, it passes through all of his work. The poet is desperately trying to draw the attention of all people living on Earth to the problems that concern him, to awaken ordinary people who do not have high spiritual ideals. The poet calls on people to have compassion, empathy, and sympathy for those who are nearby. It is precisely indifference, inability and unwillingness to understand and regret that he exposes in the poem “A Good Treatment for Horses.”
In my opinion, no one can describe the ordinary phenomena of life as expressively as Mayakovsky in just a few words. Here, for example, is a street. The poet uses only six words, but what an expressive picture they paint:
Experienced by the wind,
shod with ice,
the street was slipping.
Reading these lines, in reality I see a winter, windswept street, an icy road along which a horse gallops, confidently clattering its hooves. Everything moves, everything lives, nothing is at rest.
And suddenly... the horse fell. It seems to me that everyone who is next to her should freeze for a moment, and then immediately rush to help. I want to shout: “People! Stop, because someone next to you is unhappy!” But no, the indifferent street continues to move, and only
behind the onlooker there is an onlooker,
Kuznetsky came to flare his pants,
huddled together
laughter rang and tinkled:
- The horse fell! -
- The horse fell!
Together with the poet, I am ashamed of these people who are indifferent to the grief of others; I understand his disdainful attitude towards them, which he expresses with his main weapon - in a word: their laughter “rings” unpleasantly, and the hum of their voices is like a “howl”. Mayakovsky opposes himself to this indifferent crowd; he does not want to be part of it:
Kuznetsky laughed.
There's only one me
did not interfere with his howl.
Came up
and I see
horse eyes...
Even if the poet ended his poem with this last line, he, in my opinion, would have already said a lot. His words are so expressive and weighty that anyone would see bewilderment, pain and fear in the “horse eyes”. I would have seen and helped, because it is impossible to pass by when a horse has
behind the chapels chapels
rolls down the face,
hiding in the fur...
Mayakovsky addresses the horse, comforting it as he would console a friend:
Horse, don't.
Horse, listen -
Why do you think that you are worse than them?
The poet affectionately calls her “baby” and speaks piercingly beautiful, filled philosophical meaning words:
we are all a little bit of a horse
Each of us is a horse in our own way.
And the animal, encouraged and believing in its own strength, gains a second wind:
horse
rushed
got to her feet,
neighed
and went.
At the end of the poem, Mayakovsky no longer denounces indifference and selfishness, he ends it life-affirmingly. The poet seems to be saying: “Don’t give in to difficulties, learn to overcome them, believe in your strength, and everything will be fine!” And it seems to me that the horse hears him:
She wagged her tail.
Red-haired child.
The cheerful one came,
stood in the stall.
And everything seemed to her -
she's a foal
and it was worth living,
and it was worth the work.
I was very moved by this poem. It seems to me that it cannot leave anyone indifferent! I think that everyone should read it thoughtfully, because if they do this, then there will be much fewer selfish, evil people on Earth who are indifferent to the misfortune of others!