METAPHYSICS OF THE SCREAM IN THE SOUND PICTURE OF THE WORLD OF THE TWENTIETH CENTURY

Abstract

The formation of metaphysics in the twentieth century is associated with the response to the challenges of modernity, with the posing of problems of changing cultural context and the new picture of the world. Scream as a human expression attracts researchers' attention not only by the limit of its expressiveness, but also by the fact that it belongs to the sound picture of the world. The ontological approach in treating the scream as a form of human expression, a "point" of the meeting of being and man through expressiveness, is the main one. The author builds the logic of the analysis of the metaphysics of the cry: the definition of the sound picture of the world as a value-semantic model and the meaning of the voice as a means of communication; the substantiation of the connection of the phenomenon of the cry with expressionism; the analysis of the conceptual approaches of J. Deleuze, J. Derrida, V.A. Podoroga, M.M. Shemyakin, etc, defining the scream as a special human condition in the world, expressing the tension of fracture, break, shift, deformation, defamiliarization; revealing the narrative nature of the scream as the formation of expressive meaning (series "Scream", E. Munch), (series "Screaming Dad", F. Bacon); justifying the metaphysics of the scream as silence, in which sound becomes aphonic. The author concludes that in the sound picture of the world of the twentieth century there is a semantic convergence of the theory of expressiveness (expression) and the metaphysics of sound (voice).