Интересен

We have before us a truly interesting, passionately and vividly written book. The author boldly raises some fundamental questions of aesthetic science that have often been sidestepped in recent times. The central problem that has completely absorbed Burov's attention is the relationship between "the subject and content of art." Everything else is subordinate to this problem. What is said about the function of art is an illustration of the main thesis about the peculiar subject and content of art. In the first chapter, Burov criticizes the widespread view that the subject of art is the whole world and that its specificity arises not from the subject, but from the form of reproduction of life (the figurative form). Of course, the reflection of life in the "form of life itself," in a living, concrete, individual image, is a very important feature of art. But imagery is also inherent in science, photography, and the practical activities of people. After offering an interesting and accurate critique of Kant and Schiller on the one hand, and of some Soviet theorists on the other, Burov comes to the following conclusion: Imagery is not an essential specific feature of art. It explains nothing and must itself be explained. The whole point is in the specific subject matter of art, which gives rise to the specific figurative form. What is this subject matter? All true art

What is aesthetic?" - this is the question that begins the monograph of L. N. Stolovich "Aesthetics in Reality and in Art" (Moscow, 1959). "From the point of view of modern aesthetic science," the author writes, "those phenomena and objects of reality, those human abilities are characterized as aesthetic, which in one way or another are included in the special, special attitude of man to reality - the aesthetic attitude." As we see, a very general definition, the meaning of which is expressed in the fact that the aesthetic is understood as a special attitude. From this premise to a more comprehensive definition of the aesthetic, several directions are possible. Stolovich chose the one according to which the aesthetic attitude is determined by its object - the aesthetic properties of reality. They (beautiful, disgusting, ugly, tragic) exist objectively, independently of our will and our consciousness, although they are not outside of society and man. The author distinguishes himself from A. I. Burov, according to whom aesthetic qualities are not realized "without the perceiving subject."

We know under what circumstances and when Nikola Vaptsarov wrote his two death poems: "Farewell", dedicated to his wife, and "The Fight is Mercilessly Cruel". The poet wrote under them the date July 23, 1942 and the hour - 2 p.m., on the very eve of his execution. The excitement that overwhelms us when we read these two poems of two stanzas is irresistible: they sound in our hearts and memories, vibrate as if each verse is a string, constantly vibrating under the pressure of a feeling, immeasurable in its depth, a sublimation of a shaking lyricism. Perhaps before Vaptsarov, only in Botev - in his "Farewell" - do we find such dramatic tension and feel such a conquering power of the lyrical wave.