Чому перлина? Про фундаментальну особливість барокової тілесності

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dc.contributor.authorШалагінов, Борис
dc.date.accessioned2020-03-03T15:14:58Z
dc.date.available2020-03-03T15:14:58Z
dc.date.issued2019
dc.description.abstractНа основі аналізу праці Г. Вьольфліна "Ренесанс і Бароко" розкрито в історичному порівнянні з середніми віками та Відродженням генезу і зміст деяких термінів і понять бароко, пов’язаних із символічним переосмисленням поняття тілесності. Проаналізовано функцію художнього образу смерті, а також трагізм і містеріальність, бароковий стоїцизм, бароковий комізм. Розкрито бароковий дихотомізм мистецьких образів та його рефлекси в наступні літературні епохи.uk_UA
dc.description.abstractThe article analyzes, in a historical sense, the principles of Baroque literary aesthetics, in particular the fundamental concept of Heinrich Wölflin’s "corporeality", revealed by the researcher through the example of baroque architecture. The factor of ideological and aesthetic taboos imposed on the human body during the Middle Ages is noted. In the Renaissance, with its emancipated anarchic-individualistic ethics, the perception of the human body as a microcosm arises. The Baroque combines it with Christian notions of morality and conscience and deepens it in a new symbolic sense. In particular, John Milton ("Paradise Lost") derives physicality as an ontogenetic criterion. Segismundo ("Life is a Dream" by Pedro Calderon) also perceives moral concepts through the mysterious experiences of his own body. The article explains why Wölfin claims the name of the "baroque" pearl as a term among others common in the sixteenth and seventeenth century style names (stile nuovo, stile bizzarro, stile capriccioso, stile stravagante). The mysterious understanding of the human body distinguishes the Baroque era from the Renaissance with its tragic perception of corporeality. In Renaissance and Baroque times, the aesthetic function of death is also represented differently. The figure of the Stoic goes back to antique Baroque literature. The principles of baroque comicality are considered in terms of contrast in the Middle Ages and Renaissance. The Baroque instilled in European art a taste for paired oppositions and dichotomous images. In particular, in the new era, the body was often perceived as a caricature and a humorous version of a serious, "sculptural" body. Classicism fully transferred it into its comedies and in the eighteenth century.conveyed Baroque techniques such as farce, caricature, travesty, wordplay and parody. Baroque corporeality opened up to succeeding generations of Europeans the experience of a world that is and always will be a conflicting, intrinsically antagonistic, largely hostile to the individual entity. The Baroque was the last era during which aesthetic creativity (literature, music, fine arts and architecture) and philosophical-theological thought were historically synchronous and typologically related. It was during this era that the fundamental principles and values of European culture – its so-called "Europeanness" – emerged. This refers the secular nature of art and philosophy; the complete emancipation of the materiality of the world and the corporeality of human nature; and the principle of the autonomy of morality.en_US
dc.identifier.citationШалагінов Б. Б. Чому перлина? Про фундаментальну особливість барокової тілесності / Борис Шалагінов // Наукові записки НаУКМА. Літературознавство. - 2019. - Т. 2. - С. 129-134.uk_UA
dc.identifier.urihttps://ekmair.ukma.edu.ua/handle/123456789/17041
dc.identifier.urihttps://doi.org/10.18523/2618-0537.2019.2.129-134en_US
dc.language.isoukuk_UA
dc.relation.sourceНаукові записки НаУКМА. Літературознавствоuk_UA
dc.statusfirst publisheduk_UA
dc.subjectСередні вікиuk_UA
dc.subjectВідродженняuk_UA
dc.subjectБарокоuk_UA
dc.subjectтілесністьuk_UA
dc.subjectбарокова перлинаuk_UA
dc.subjectП. Кальдеронuk_UA
dc.subjectДж. Мільтонuk_UA
dc.subjectМольєрuk_UA
dc.subjectМікеланджелоuk_UA
dc.subjectП. Рубенсuk_UA
dc.subjectК. Монтевердіuk_UA
dc.subjectЙ. С. Бахuk_UA
dc.subjectсмертьuk_UA
dc.subjectтрагедіяuk_UA
dc.subjectмістеріяuk_UA
dc.subjectбароковий комізмuk_UA
dc.subjectбароковий стоїцизмuk_UA
dc.subjectбароковий дихотомізм образівuk_UA
dc.subjectстаттяuk_UA
dc.subjectbaroqueen_US
dc.subjectRenaissanceen_US
dc.subjectbodyen_US
dc.subjectcorporealityen_US
dc.subjectmysteryen_US
dc.subjectmoralityen_US
dc.subjectconscienceen_US
dc.subjectdeathen_US
dc.subjectstoicismen_US
dc.subjectcomicalityen_US
dc.subject"european"en_US
dc.subjectWölflinen_US
dc.subjectCalderonen_US
dc.subjectMiltonen_US
dc.subjectMichelangeloen_US
dc.subjectBachen_US
dc.subjectKotljarevskyen_US
dc.subjectKvitka-Osnovjanenkoen_US
dc.subjectHoholen_US
dc.subjectarticleen_US
dc.titleЧому перлина? Про фундаментальну особливість барокової тілесностіuk_UA
dc.title.alternativeWhy a Pearl Shell? On the Fundamental Features of Baroque Corporealityen_US
dc.typeArticleuk_UA
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