Author(s): Yaroslava Demydenko / Language(s): Ukrainian
Issue: 4/2013
The article is dedicated to the phenomena of avangardizm in the context of historical and philosophical period of the end of the XIX – beginning of XX century. Innovative developments in the visual art were in every age, but in the art of the beginning of twentieth century the term "avangardizm" was established. He had to perform the function of negation values of classical art. Young artists-rebels sent their grievances against Impressionism. They did not like passive perception of the world in the works of the Impressionists. They need activity, directing her to refuse reality as fixed by defining an object of art. In accordance with the rejection of previous aesthetic ideals changed and the method of these artists. They abandoned the realistic method, based on the reflection of reality and began to develop their techniques. A close acquaintance with the avant-garde convinces us that this is not only outrageous, authors intentions are extremely serious. As a special human activity avangardizm had a significant impact on the culture of the twentieth century. As noted A. Bila, avangardizm as a discursive phenomenon has not been subject to systematic analysis in ukrainian science yet. The first attempts of the reception on avangardizm made M. Sulima, D. Nalyvayko, G.Verves G., O. Ilnytskyi, S. Pavlychko and M. Shkandrij. Avangardizm as an artistic and ideological movement interested most Ukrainian researchers not directly, but often in the context of changes in creative thinking and intercultural relations.
Avangardizm – a concept that has a wide range of interpretations includes a variety of areas and aspects. Essential for this course was aimed at a transformation of reality. Art claimed to create a social ideology that argued to new values of perfectionism.
Evaluation of aesthetic innovation allows us to understand the features social dynamics, identify significant values of the age. Analysis of the cultural component of the artistic avangardizm needs to understand not only the aesthetic problems of our time scheduled on the verge of past centuries as part of the phenomenon, but also to clarify the important value priorities of socio-cultural transformations.
Research studies philosophy of this period shows that the formation of philosophical schools and movements of the second half of Nineteenth century dependents on the specifics of the development of European classical rationalism. Classical philosophers were convinced that the mind is the best tool for converting human life. Knowledge and rational knowledge considered the main force that will solve all the problems of the individual and humanity as a whole. Knowledge must be clear, precise, given in a logical system. Then it will match the surrounding world, which, according to the classical view of the world, is in the internal order. Philosophical rationalism believed that not only the problems of the world of knowledge, but also questions about God, faith and religion can be interpreted rationally. It was expected that the principles of reason can be the basis of morality, politics, and freedom, that these principles should create an ideal state.
But the French Revolution, prepared by the ideas of the Enlightenment, questioned the correctness of the doctrine of rationalism. It is obvious that the development of enlightenment, the progress of knowledge and science is not the way to solve the "eternal" problems of social development. Instead of optimism coming a doubt of the ability of the mind.
Trend to limit the mind emerging in the framework of the classical philosophy. For example, Kant denied the possibility of knowing the mind "thing in itself", Fichte declared the idea of the priority of practical (moral) reason over theoretical, Schelling considered higher resolution of the mind is not rational and theoretical thinking but intuition. Thus, comprising both internal and external conditions for the emergence of postclassical philosophical systems.
The beginning of the twentieth century as a special spiritual phenomenon marked similarity of situations in science, art, politics, technology, and natural deep ideological crisis, the emergence of the theory of relativity, watching Christian moral relativism. Avangardism art tried to express this crisis state of the world and find grounds for optimism. Thus, the avangardizm – is a reaction of artistic and aesthetic consciousness on a global change in the cultural and civilizational processes caused by technological progress of last century. Formation of avangardizm associated with the rejection of positivism in aesthetics and realism in art. Teaching postclassical philosophy of Schopenhauer and Kierkegaard to Nietzsche and Bergson had an influence on the avangardizm.
The philosophical ideas of Freud, founder of psychoanalysis largely manifested influence of the art of the early twentieth century. At the turn of the century, in European intellectual circles appeared suitable conditions for the development of psychoanalysis and art of artvangardizm. We can notice the fact that, in Europe increased activity and tension in the spiritual and social life, the desire for change. At the same time psychic energy accumulated inside the human mass, which reached a certain critical potential, needed release. In the art it is expressed in the origin and emergence of new styles.
Thus, the avant-garde is the continuation and development of philosophical and aesthetic ideas of the nineteenth century, while it is also the plane of the emergence of new research twentieth century. Avangardizm phenomenon common to all transitional stages in the history of culture, individual art forms. However, in the twentieth century avangardizm gained global significance powerful cultural phenomenon, encompassing all more or less important events, marked a new transition.
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