THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s

Svitlana Kholodynska
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Abstract

In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
20世纪40年代至60年代法国人文学科中鲍里斯·维安的创造性工作
在20世纪下半叶,围绕着对危机现象的理解的讨论变得更加频繁,渗透到人类生活的各个领域,特别是艺术和美学领域也被触及。艺术领域的危机与19世纪末和20世纪初的普遍文化危机、精神的衰落和价值观的相对化(主要是道德和审美)有关。对20世纪艺术实践和美学领域危机的分析是20世纪下半叶波兰美学的几位代表人物的科学研究主题:R. Ingarden, S. Morawski, B. Dziemidok等人。这些思想家的主要注意力集中在理解现代艺术创作的转变过程和分析其对美学的影响,并明确强调价值论观点的重要性。在莫拉夫斯基的作品中,我们可以找到对20世纪艺术创作和美学危机问题的深入分析。他研究了20世纪初以来艺术创作转型的原因和后果,特别是对现代轴心圈形成的后果,以及它在改变现代审美意识中的作用。然而,S. Morawski关于美学被反美学取代的预言并没有得到证实。相反,实现审美价值的艺术幸存了下来,尽管审美价值的范围大大增加了。现代艺术哲学对最具争议的艺术建议持开放态度。这是因为它打破了那些限制自由的规范原则。然而,最重要的是,规范性和描述性美学始终具有价值论特征,这是20世纪下半叶波兰美学的所有代表所强调的。
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