FOLK ART AND ROMANTICISM: THE RATIO ART SYSTEMS

Abstract

Introduction. Literary scholarshave long been interested in theproblem offundamental categories of romantic literature, which has recently startedacquiring new scientific interpretation. Scientifically accumulated data serves as the basis for further research;however, applicationof semiotic theory will become an important supplement, which is toreveal new ways of understanding romanticism as a sign system. Purpose. The article aims to research the ideological paradigm ("I-and-World") in romanticism as well as its communicative nature.Results. Romanticism witnessed humanity’stransition from the traditional model of existence (a person – as an enactor ofthe transpersonal role in the world) to the individually creative model("inherent valueof personality"). The author considers the changing direction of Modern age as the process of society "renewal", whichwas based onreplicationof cosmogony model - Great Creation (a "wedding of god and goddess"). It has been proved that any subsequent creative work, humanity created, is merely a replication of the mythological structure, "second birth", "renewal", which always contains an element of longing for the "lost paradise –the perfect origin"(tragic) and the desire to have it (optimistic), which becomes a source of vitalisticreality expressionidea. The presence of reflection, assessment, awareness, intention entitles the author to point out that the act of "re-birth" acquires features ofthe Great Creationparody. Parody is based on the idea of duplication, "second aspect", "cheerful servant" as a companion or a shadowof a hero, who mutually abide in the state of likeness and unity. Bymimicking a "king",a "god", a "fool" or a "hero"does not destroy or ridicule him, but rather duplicates him, enhances his nature, since the parody is based on the awareness of the essence of a "king","god" by the fool.Originality. Observation suggests that archetypal model of "renewal" is clearly representedinmystical biblical historicism, based on the idea of committedjourney of a person towards the union (treaty, covenant) with God. The basis of this union is mutual love between God and a person ("marriage between man and God"), which is only possible under the condition of conscious will.Conclusion. It has been proved that "self integrity"of a romantic (wedding of "I" and a "subjective spirit") is based on the biblical mythogenesis, which causesa division of his aesthetic consciousness into two basic attitudes - ironic (tragic - "interdiction" from the destructive parental code, "I – participant”, Faust) and sarcastic (comic - "adjunction" to the injured maternal body; "I-observer", Faust "inside out"), that are one single thing, transform intoeach other, and form parodical structure of aesthetic accomplishment ofthe artistic whole. "Architectonic tasks" of the parody produce genre-stylistic out lines of romanticism.