Table of contents 1. Art and reality 2. Content in art 1. Idealism and materialism 2. Various aspects content 3. Theme - the scope of content 4. Idea in content 3. Form in art 1. Internal and external form 2. Artistic language of a work of art 3. Genre - a component of art form 4. Unity of form and content Conclusion. Introduction Content and form - philosophical categories, reflecting the relationship between the two sides of natural and social reality: a certain orderly set of elements and processes that form objects or a phenomenon, i.e. content, and the mode of existence and expression of this content, its various modifications, i.e. forms. The concept of Form is also used in the meaning of the internal organization of the Content, and in this meaning the problems of Form are further developed in the category of structure. In the history of philosophy, especially idealistic, the Form was reduced to structure, and the Content was identified with a certain disordered set of elements and properties, which contributed to the consolidation and preservation of idealistic ideas about the primacy of Form over Content over a long historical period. The relationship between Content and Form is a typical case of the relationship of dialectical opposites, characterized both by the unity of Content and form, and by the contradictions and conflicts between them. (Philosophical Dictionary. M. Politizdat, 1991). What area artistic culture we did not consider - a certain historical period in its development, direction, flow, creative individuality, finally, a work of art - every time the problem of analyzing it in terms of content and form arises. Such important links in the artistic process as creativity and aesthetic perception also appear in in terms of formation, differentiation, synthesis and form. The entire history of art testifies that the artistic value and power of the impact of works of art largely depend on the expressiveness of the art form and its correspondence to the content of the work. This is due to the fact that in the artistic representation of reality, the decisive role belongs to the artistic form, and the defining role belongs to the content of the work. The topic “form and content” seemed to me the most interesting in connection with the topic of my dissertation: I consider the concept of completeness in fine arts. And completeness, as you know, arises from something, on the basis of something. In this case, the form that turns into content, and vice versa, is what allows us to talk about the completion, co-completion of the work. I think that purely art criticism categories do not sufficiently express the problem. Therefore, it seemed to me relevant to consider the problem of form and content from a philosophical point of view. Art and Reality “In art, as a means of expression, there is an atmosphere of charm, unnaturalness, something artificial, I would say, something almost magical, in which, apparently, only beauty should manifest itself for us.” /BUT. Banfi. Philosophy of Art p.34 / An artist creates a work of art not because he reflects his own inner world, but because it expresses the need to elevate some form of life to the level of universal value typical of spirituality. A work of art is indeed a symbol, and its beauty is revealed by the endless quest that takes place in and outside of its soul, acquiring spirituality in its purest form. Not a single work of art, like any of the subjective states, realizes beauty in its purest form, absolutely pure ideality, free from any forms of the real that are necessary for its harmony. “It means that aesthetic life never succeeds in reaching the final concrete objectification, the proper value. The latter, by the way, is a value only because in each creation it reveals the presence of an ideal meaning that goes beyond a certain form.” /BUT. Banfi. Philosophy of Art page 35 / Through the total sphere of culture, the social structure aims art at the content that art must develop and saturate with the meaning of its own historical situation. Thus, this structure has an impact on the entire complex of artistic reality, on its internal structure, defining along the way the formal problems arising from the renewal of content. It is obvious, for example, that at the end of the Renaissance, the strengthening of the independence of the bourgeoisie, the resulting changes in views on urban and family life, on the relationship between town and country, the increase in some values ​​of life and the depreciation of others led to the appearance in art realistic tendencies . In this regard, let us recall interiors, landscapes, genre scenes, portraits, and still lifes. These genres, in turn, brought to life new compositional schemes, new formal problems associated with perspective, light, and color scheme, on which the emergence of new values ​​in painting also depended. Another "ideal sphere" of the subject-object relationship is value, or rather values. Reducing them - as far as art is concerned - to a pure aesthetic value, although it may seem legitimate only with a superficial study. Indeed, in its essence, a work of art is based on a series of values, more or less capable of harmonious synthesis. This is attention to the world around, and tradition, and vitality. These are ethical, technical, and actually aesthetic values. These latter, related to the complex and multifaceted social role of art, are not only an important aspect, moment, artistic persuasiveness in themselves, but also underlie other values, determining the penetration into the fabric of a work of art. Social values ​​acquire an obvious originality in some types of art. Let us recall, for example, architecture and urban planning, theatrical art and small decorative forms. In general, they are inherent in all artistic fields and characterize important qualitative differences. Let's compare the visual "publicity" of fresco painting and the intimacy of the picture, let's remember how social content differs from each other, which is an integral part of vocal and instrumental music and inherent in the instruments themselves. “We should also not forget that the strengthening of expressive forms and relationships that affect our sensations, emphasizing the emotional and figurative side of the content in a work of art leads to a concentration of attention on them and affects the foundations of their social structures and expressiveness.” /BUT. Banfi. Philosophy of art p.186 / Art is the realization of the beautiful in the work of man. This realization can take place on a purely formal level, the realization of those canons of pure beauty that taste has already “tested” in experience. But in this case, the work of art may be a skilful but soulless construction, whose beauty remains external to the reality of the object, which in turn frames it. Such is the case with decorative art. “A work of art should be aesthetically independent, should look like the result of absolute – spontaneity, as if carrying in itself its own expediency, which determines all its aspects – spontaneity, as if carrying in itself its own expediency, which determines all its aspects. " /BUT. Banfi. Philosophy of Art p.189 / Such absolute spontaneity is the creative activity of a genius. But a genius can create only insofar as, in connection with a certain concept, a representation (aesthetic idea) is formed in him, which does not allow self-dissolution in this concept, but gives impetus to the unlimited development of thoughts, accompanied by an unlimited change of images, so that both abilities of the soul are imagination. and reason-comes into infinitely free movement under the conditions of mutual coordination of various motives, of which one or me resonates most with the audience. A pure aesthetic image cannot be created in art without any connection with the ideal, and its value lies not in static contemplation, but in the diversity and depth of imagination and thoughts that it evokes. CONTENT IN ART. Idealism and materialism The aesthetic theories of objective idealism assert that the content of art is the absolute idea, the world spirit, the world will, in other words, the divine essence of the world. Art appears in the teachings of objective-idealistic aesthetics as a means of cognizing this spiritual essence of the world. The aesthetic theories of subjective idealism assert that the content of art is the absolutely subjective, arbitrary, arbitrary, unconditioned activity of the individual subject. The subjective idealists reduce the content of art to an emanation of the inner “I” of the artist, to the expression of an individual soul, psyche, torn off from the real world. In contrast to idealistic aesthetics, materialistic aesthetics claims that art draws its content not from a divine idea, not from the arbitrariness of the subject, but from reality, from relationships, contradictions and essential current development of social life. Thus, the “Theory of Imitation” of reality in art, which originated in the ancient world and developed by the humanists of the Renaissance and the enlighteners of the 18th century, considered the content of art to be life, nature, “nature”, depicted in it. Supporters of the materialistically understood theory of "Imitation" at various stages of its historical development - Aristotle, Leonardo da Vinci, D. Diderot, G. Lesslich. A problem arises: the problem of the relationship between physical reality and the objectivity of art. In nature - development, an endless process, characterized by a variety of forms, then in the reality of art, they are fixed in a pure and immovable form, acting as completeness or eternity. The reality of art is something less and at the same time more than the reality of nature, and yet it is closely connected with the latter. This is clearly manifested in the plastic and fine arts, where works are inspired or shown by natural reality. In this context, art faces a contradiction. Being conditioned by its form, it appears either as an ideal truth, or as a simple modeling force, or as a formally creative activity. In a brief sketch of 1789, "A simple imitation of nature, manner, style," Chete distinguishes three stages of the relationship between a work of art and the reality of nature. A work of art may be a mere imitation of nature, and its value lies in its ability to skilfully reproduce a natural object. The Flemish still life is the most typical example of this way of depicting. The method of the lower stage, for art appears here only as a means of reproducing nature, depicted with such skill and diligence that it seems to raise the work of art itself. A higher level is the manner, which means a free perception of natural reality, consistent with the temperament of the artist. Turning into an individual technique, such perception is established as a typical artist's manner. In other words, a manner is a characteristic in art, which is objectively fixed in an individual or collective (school) vision of the surrounding reality. Only in the case when the artist, in his personal perception of reality, frees the latter from its abstract external form and from the meanings imposed by its special relations, and reveals its deeper essence in an ideal-objective structure, where the spirit and nature recognize each other, does it really happen achievement of the highest stage of art, i.e. style. Nature creates a living indifferent being. The artist, on the contrary, is dead but significant, nature creates something real, and the artist creates something imaginary. Natural reality lives, and its life is not just the flowering of a certain idea, but rather the struggle of the latter against the influence of random circumstances. Art is on the other side of life, it expresses a pure ideal form, acting as a necessity, satisfied in itself and acting directly as beauty. Hegel poses the problem of art. His theory of the absolute spirit consists of three points: Art, Religion, and Philosophy. He has the concept of beauty not as an abstract value that formally defines individual beautiful objects, but as a principle that determines the structure of the aesthetic sphere, and its internal tension, its problems, its movements. The beautiful is a sensual manifestation of an idea, an idea not as a universal abstraction, but as a universal, containing and developing in itself a special - absolute unity itself (which is an endless process in which the real and the rational adapt to each other), since it is expressed in the final form of the sensible . This is the manifestation in sensual completeness of the absolute principle of the unity and existence of the real. Beauty is independently realized in the sphere of art, which is the realm of the ideal, since the “Ideal” means an unrevealed idea, and its very manifestation in all its purity. This is a sensual form, freed from the play of necessity and chance, which is subject to natural experience, and balanced in accordance with the internal laws of individual existence. Art is therefore not an imitation of natural reality, but the creation of an ideal world rooted in the sensuous, in which sensuous forms are free from their relativity and finiteness and become the actuality of an idea that breathes into them a soul and endows them with an absolute spiritual individuality. From this concept of the ideal, Hegel derives both the structural elements of the work of art in itself and its various relationships, individual and social meanings, and the nature of the creative subjectivity of the artist. In classical art, form and content correspond to each other: they are manifestations of intuitive humanity and its pure ideality as spirit, when individuality is provided by the whole and vice versa. This is absolute art. Absolute art goes through three stages: 1. Abstract work 2. Living work 3. Spiritual. 1. Art is an expression of absolute, ideal, moral balance in the form in which it is ideally experienced by the subject. 1. The paired form is immediate, abstract and singular. This is an objective and material image of the deity. The artist puts all the moral substance into the work of art. This is nothing but an individualistic certainty that does not have any reality in his work and is valuable as an activity in general, going beyond the framework of the work itself. 2. The second abstract art form is an expression of self-consciousness that accompanies the statues of the deity and gives it value. 3. The third form, uniting and organizing the first two, is a cult. 2. In living art, the cult becomes the very seat of the deity. Mystery and festivity: the presence of a deity manifests itself as an orgy, on the other hand, as the deification of man in his beauty. Both of these moments find unity in the language of art. “Through an artistic religion, the spirit and form of substance passed into the form of the subject, for this religion creates the form of the subject and the manifestation, thus, in it the action or self-consciousness, which only disappears in the fear-inspiring substance and does not comprehend itself in hope. This incarnation of the divine essence begins with the statue, which has only an external form of selfhood, and "internal", the activity of incarnation proceeds outside this form; in the cult, both sides merged into one, as a result - the artistic religion is a unity, completed, passed simultaneously also into a short term of selfhood; in the spirit, which knows itself quite authentically in the singularity of consciousness, all essentiality is linked. The proposition by which this frivolity is expressed is: the self is the absolute essence” / Hegel. Sog. V.4 p.399/ Various aspects of content When asked about the content of art, we usually answer that the content of art is reality. Ultimately, this is so: with more or less mediation, conventionality, normativity, freedom of imagination and fantasy, art recreates the surrounding world, man, values. But since the content of the object is contained in itself, and not outside it, then the artistic content belongs to the sphere of art. The separation of those components of art that are conditioned by reality, which exists independently, from those that determine the creative subject, is a difficult theoretical task. Of course, these aspects of art are interconnected to a limited extent both in the process of creativity and in the work of art. If in the results of scientific research subjective moments are eliminated as much as possible, then in art they can be deliberately accentuated, representing an aesthetic and artistic value. The concept of objective and subjective in relation to artistic activity. The object of reflection for art can be thoughts, experiences, emotions of other people that exist in addition to the spiritual world of a creative person - this is on the one hand. On the other hand, the dependence of the content of art on the creative subject expresses the dependence of not only a subjective, but also an objective nature, since the artist’s views, ideals, and tastes belong not only to him personally, but indicate the socio-historical processes of reality. Expressing his worldview, his emotions, the artist cognizes and objectifies them with the help of material - means of expression art. The created work of art becomes a fact of objective aesthetic impact on society, as an aesthetic value it outlives its creator, is included in the cultural and historical process along with other values. In turn, the creative person as a "source" of the content of art is reflected in the act of subjective, valuable "re-creation" of reality and in the process of objective socio-historical existence of a work of art. Due to the fact that the value of an object is expressed in a person’s emotional attitude to reality or is for an individual, with his unique personal world, the moral values ​​of social life are represented in art by their emotional and spiritual significance for the whole personality. The artistic content reveals the spiritual consequences of one or another philosophical, socio-psychological position of a person. The aesthetic and artistic specificity of content in art arises not in the autonomous, closed sphere of the work as such, but in the close interaction of intra-artistic meanings with those meanings, ideas, and assessments that are formed in a wide sphere of reality. Thus, the analysis of the topic reveals the relationship in the content of art with the problems of the current socio-historical situation and cultural-artistic tradition, the object of reproduction, the object of knowledge - evaluation and "Internal" with its specific laws of the world of a work of art. Theme is the scope of the content. Let us dwell on such an area of ​​content as the Theme. The circle of phenomena of reality depicted in a work of art is usually called its theme. But the concept of the topic is not unambiguous. There are three groups of meanings that have historically taken shape in aesthetics and art theory. The first of them goes back to the object theme. The notion of theme, taken in this sense, characterizes not the component of artistic content as such, but its real origins, which are in reality. With the help of this meaning, the concept of a theme is related to the phenomena of the objective world, isolated by public consciousness from the stream of historical development, natural processes, or to reproduction objects selected by the artist, but considered abstractly - conceptually, outside the specific artistic structure of the work of art. Since the category "Theme" does not correspond here with the artistic image itself, this value does not yet give grounds for qualifying it as artistic. The second group of meanings of the theme already refers to a certain meaningful unity of the work itself. Artistically - a specific theme is not something external in relation to art, which is outside of it. The theme in this sense becomes one of the main categories, with the help of which the “Internal” content of art is explored, arising as a result of the selection of phenomena of reality, their emotional and aesthetic assessment and embodiment in a certain structure with the help of material and expressive means. In the visual arts, the directly expressed content - the spatial - objective world, the visual environment, the mediated content - is the area of ​​emotionally semantic values ​​and assessments, then in the art of the word the mentally - emotional sphere is expressed directly, and the pictorial - visual - indirectly. Which content is more important: presented directly or more indirectly? Some believe that the main thing in music is the inaudible, in plastic arts ah - invisible, in sculpture - movement and time. Others say the exact opposite. In reality, the concrete artistic theme is closely linked with the directly presented content, and thus with the form of embodiment. A specific artistic theme cannot be adequately retold, it must be seen, heard, however, like all other components of the content of a work of art. A work can develop one big theme or several themes with the dominance of one of them, or a number of relatively equal themes - it all depends on the type, genre, creative individuality in the system of which it was created. Let's call the theme in the third meaning "cultural-typological" - it fixes the meaningful connection of a work of art with a socio-aesthetic tradition. In this sense, the theme characterizes the content commonality of many works of art. This is a repeated reproduction of similar socio-psychological collisions, embodied in the works of artists who developed in a certain style and direction of art, which became part of the genre. It is, as it were, a synthesis of figurative values ​​created by art under the influence of reality, then consolidated by the course of social and cultural development and again returned to the artistic sphere in the context of other cultural phenomena. In the visual arts, “plot” usually means the specific theme of the work “a specific event”, in contrast to “theme” as a reflection of a wider subject of the image (a wider sphere of phenomena from which the depicted event is borrowed). Content idea. The idea of ​​a work of art is its main meaning, which determines its social significance. The idea enters into the content of the artistic process together with the theme and is inseparable from it. It permeates the entire artistic image, its specific thematic fabric. The idea of ​​a work of art can be formulated in abstract terms, but in a real work it is not abstract, but sensually concrete, figurative. It must be taken into account that the content of a work of art is socially and individually significant not only for its creator, but also for every person who perceives art. The perception of a work of art is not a passive, but an active process. In this process, the content that is objectively inherent in the work is always refracted through the prism of the perceiver's consciousness. It is recognized in connection with all its social and personal experience. This content seems to be supplemented by numerous associations and ideas, it evokes various thoughts that are not directly contained in the work itself, but are drawn from the contemporary social and personal life of the perceiving person. A work of art, being active, creatively experienced by people who perceive it, as if enters into their individual life, takes on a special meaning. Therefore, the perception of the content of the same work by people of different eras, countries, individuals is not the same, it has different shades. The activity of the subject, of course, matters in the perception of art, but it is secondary in relation to the objective content, arises on its basis and cannot change it. Form in art. In a broad philosophical sense, form in art is a way of expressing and existing content. In its formation, the decisive role belongs to a specific ideological and artistic content. Like content, it has its own structure and order. The category of art form is no less complex than the category of content. Sometimes they speak of a relatively constant, unchanging characteristic of a complex object, while the form is spoken of as a variant, a variety of content. But in most cases, a different meaning is meant: form in unity with artistic content. Outside of this transition into content and back, form has no real existence. And this is not only in the process of creativity, but also in the process of perception of an already finished work. art form is the process of objectification of a specific artistic content. The art form is the internal structure of the content, the way of its manifestation and existence in artistic images, embodied by certain material means according to the laws of a given type and genre of art. Internal and external form. In accordance with the philosophical tradition, internal and external forms are distinguished. The internal form is a way of expressing and transforming the orderliness of the content into the orderliness of the form, in other words, the structural and compositional aspect of a work of art. The internal form is the structure - characters, characters, plots, from a certain point of view - the composition. The inner form, the image, which is still in the mind of the artist, guides his search for a suitable external form, as well as his work with the material and the "Language" of art. The external form is a material representational means, organized in a certain way to embody the content, the internal form. There is a significant difference between the processes of creating an internal and an external form. The inner form arises together with the content while still in the concept, where the original outlines of the artistic image are outlined. Any work has a unique, only inherent internal form. The internal form is not only a connecting link between the external form and content, but it is also the content in relation to the external form. The plot, the idea, the composition, need a certain material, certain ways of incarnation, as a result, an external form, an objective being of an artistic image is obtained. An important feature of the external form is its relative independence in relation to the content and internal form. The outer form is not completely re-created in creative process. Many of its elements ("Language", the laws of the material) exist as independent phenomena with their own history and tradition. The artistic language of a work of art. In a broad philosophical, aesthetic sense, "Form in Art" covers both "Artistic Language" and specifically a unique form and correlates with the content of art as a whole, its separate type, direction. The art form directly and more indirectly, through the language of art, is also influenced by the material and its features. In any art, artistic images are created with the help of specific material means, different in each type of art, developed in the process of the historical development of artistic practice. The form of an artistic image, expressing its content, is formed from the interconnection and interaction of these means. In art, the figurative, artistic "Vision", "hearing" of reality, including the artist's relationship to this reality, is imprinted, moreover, formed in material material that receives specific processing. This material is thus included in the form of an artistic image and, acting on our senses, gives us direct knowledge of the very reflection of reality, as it exists in the artist's head. Aesthetic content can be conveyed only by means that affect aesthetically, that is, expressing through a sensually concrete sphere the "Humanized" essence of phenomena. The sensual sphere can be directly affected only by the material senses. Sculpture and painting borrow their language primarily from the sphere human life. The simplest expressive elements used in their language - volume and plane, line and shape, color and chiaroscuro, and others - necessarily acquire an exact objective meaning, correlate with certain sensory-specific phenomena of reality. The paint on the artist's palette is the material, on the canvas - component carrier object. In a freehand drawing, paper is both the material and the "Carrier" of the finished work of art. The artist, in the process of implementing the idea, seeks to reveal the possibilities of the material, artistically accentuate them and "beat" them. Features of the material affect the form, and through it - the content. Genre is a component of an art form. Genre is one of the most important components of an art form. The genre “attachment” of a work is indeed a necessary condition for the observance of certain substantive and formal norms and rules. But this condition is developed on the basis of common cultural experience in the process of the complex development of the genre itself. Artistic genres are the product of the totality of artistic reality, they represent a typical area for the application of the efforts of art, and because they embody a certain cultural meaning. Three conditions make it possible to single out a still life from an integral artistic composition and turn it into a special artistic genre. All of them are connected with the conquest of the autonomy of aesthetic problems, with the formation of art as a world in itself with its own needs. 1. Art again turns to reality and leaves the traditional interpretations of nature, based on the principle of idealization of reality, according to which the latter matters only if it is capable of acquiring spiritual value. 2. At the end of the 16th century, art, having gained complete freedom, deals with completely independent problems, turns to those subjects that present more opportunities to satisfy new interests. 3. In accordance with the isolation and increasing importance of certain special social functions, the desire to decorate life begins to have an impact on art. It was during this period that the still life acquires a self-pressing meaning, acts as an ornament. When depicting a still life, the artist has at his disposal a piece of space where he builds a plot and a three-dimensional composition, having such freedom that will allow him to create plastic values ​​in close unity with color tones. We have indicated the historical significance of the still life, its formal value, the spiritual meaning that permeates this genre and announces itself in the construction of the picture. The primordial nature of things, their hidden "demonism" appeared before us as the meaning of the content of a still life, but once revealed, this reality was "lost", turning into a pure play of light and forms. Conclusion: the relationship between the content and form of a work of art is not reduced to dualism, not to abstract unity, but is complex expression internal dialectics, where the opposite poles act as carriers of the potentially independent development of their own problems, their own values, and at the same time converge and unite in artistic reality, like two beams of light emanating from different sources, superimposed on each other in a single image and immediately diverge in opposite directions. We can fully call a genre certain norms for creating the content and form of works of art that will be repeated many times, fixed in the minds of artists and the public. Unity of form and content. In art, there is no ready-made content and ready-made form in their separation, but there is a mutual procedural composition in the act of creativity and not a separate existence in the work as a result of the creative process. The content of art is primary in relation to the form. Firstly, the defining role of content is clearly revealed in the process of the historical development of art, the formation of a new method, direction, style, genre. Secondly, the dependency of the form artistic language from the content can be traced at the level of the creative process, the purpose of which is the embodiment of a meaningful, densely emotional idea with the help of various expressive means. Thirdly, in the completed work of art the form exists in order to express the content, meanings and meanings. There is no "pure" form in art, without relative content. Where the form is not subordinated to the content, does not express it, it is destroyed as such. A natural question is about the relationship between the problem of the unity of content and form and the problem of the integrity of such a complex object as a work of art. These problems are close, but not identical. To some extent, considering the problem of integrity, we also consider the problem of the unity of content and form, but at the same time we focus on the inseparability of reciprocity, the mutual transition of content and form, as well as on their correspondence to each other, while the unity of content and form also implies their internal tension, contradictions that are observed in individual works of art. The form of any particular work is compositionally integral and figuratively unique, depending on the originality of the content of this work. The talent and skill of the artist lies largely in the search for the most complete form, as well as the most appropriate to the idea. The greatest activity of the form, both internal and external, is manifested in the composition. The composition of a work of art is the artistic harmonization of plot-thematic, plastic (and for painting and light-color) elements into an integral work. Composition as a characteristic and means of an artistic form has features at the levels of internal and external form. Why does composition play a leading role in combining content and form, along with the implementation of the expressiveness and ingenuity of works of fine art? This follows from the fundamental role of the structures of displayed objects, that is, from the structural characteristic of the content of the image, knowledge. The plot-thematic level of content is embodied in the first semantic level of the internal form - in the general composition and works of plastic arts. According to the compositional laws, the artist, first of all, performs the operations of identifying and placing on the plane of the canvas, the paper of the “compositional domain”, organizing the core, determines the main “heroes” and objects of the environment; at the same time, searches and selection of options are underway overall dynamics the interaction of characters according to the plan and the characteristic fact of the event. In the overall composition of the work, its general emotional mood is also revealed as a manifestation of the artist's pathos. In the art of painting, this is expressed in the color of the picture, as well as in the nature of the language, style, individual techniques of the artist. Further, the design of the idea moves to the ideological and psychological level of content, at which a deeper and more comprehensive identification of characters, mental properties takes place. actors , their states and experiences, as well as the subjective attitude and assessment of them by the artist themselves. Entering the spiritual world of his characters helps the artist to concretize the general idea and composition of the work: to play individual fragments, the relationship of the characters, the artist makes adjustments to the composition itself, and also determines the facial expressions, postures, movements of the characters. This ideological and psychological level corresponds to the plastic level of the composition of the work. At this level, the general ideas of the work and the psychological characteristics of the characters are transformed into specific - sensual models - the images of the characters with the image of the external appearance, facial structure and expression, spatial arrangement, figure, posture, movement. At the plastic level, the overall composition is concretized by the structures of the characters and the objects of their action, that is, the artist conveys thoughts and feelings through the spatial structures of the appearance of the characters and furnishings. The plastic composition is carried out by the same plastic methods of organizing the spatial structures of the images of objects. These structures constitute the level of content in a work of fine art, since through their means the authors display the world and express their thoughts and feelings with plastic-spatial means of composition and transmit them to the viewer. The plastic level of composition in painting also includes light-color relations. Conclusion. To determine the form and content of a phenomenon means to investigate it. “... content is something other than the transition of form into content, and form is something other than the transition of content into form” / Hegel, Cor, vol. 1 hit. 133, M - L., 1933 tsr.224/ Historically, the category “form” developed and took shape. In Aristotle, it even plays the role of content. Idealism has always exaggerated the importance of form at the expense of content. The content of an objective process and the content of the idea that reflected it are different, just as the object and the reflection are different. Content is the totality of all internal, essential, general and individual elements and processes in a given phenomenon. Form is a special unity, a way of manifesting the organization of the structure of content. Only thanks to the organic unity of content and form is a work of art able to influence the consciousness of the masses, to awaken in them high moral and aesthetic feelings. The main provisions on the relationship between content and form include: 1. Content plays a certain role in relation to form. 2. Content and form have their own levels and divisions. 3. The art form has an active expressive, pictorial, operational communicative function. 4. Compliance of the features of the artistic form of a work with its poetic content is the main criterion for the artistic form and integrity of a work of art. Literature: 1. Yuldashev L.G. Art: Philosophical Problems of Research. M.: "Thought" 1981 - 247 p. 2. Goranov K. Content and form in art. M.: "Art" 1962. –271s. 3. Banfi A. Philosophy of art. M.: "Art" 1989 –384s. 4. Volkova E.V. The problem of content and form in art. M.: "knowledge" 1976 - 64s. 5. Tyukhtin V.S. Yu.F. Larnich Content and form in art. M.: "Knowledge" 1984. –64s. 6. Art and religion in the history of philosophy. Chisinau "Shtinntsa" 1980 – 146 p. 7. Vaislov V. Content and form in art. M: "Art" 1956 - 370 p. 8. Burlins E.Ya. Culture and Genre 9. Vaislo V. Visual Arts and Problems of Aesthetics. 10. Ten N.A. Philosophy of art. 11. Questions of philosophy. 1994 №7 / 8 Akopyan K.Z. Etienne Souriau: Philosophical reflection on art or aesthetic reflection on philosophy. 12. Questions of Philosophy 1994 №4 Berger L.G. Spatial image of the world (cognition paradigm) in the structure of artistic style. 13. Questions of philosophy 1994 №7 / 8 Surio E. Art and philosophy. 14. Goncharenko N.V. , Kulikova I.S. Philosophy and Art. (on the issues of international aesthetic congresses) M: 1985

ART FORM

ART FORM

Recreation of objective and subjective reality in the expressive means of art. In art, there is a constant renewal of the formal apparatus. At the same time, there is a certain adherence to traditionalism here. Along with innovations, following the passions of artists, spectators, readers, listeners, it pursues a kind of the most universal forms, valuable in a number of parameters - capacity, concentration, elegance, sophistication, etc. For example, since the time of I.S. Bach's forms of fugues, polyphonic cycles, etc. have been preserved almost unchanged.
Among the "traditional" forms in various types of art are: in literature (poetry and prose) the form of a sonnet, a romance (Spanish romance of the 17th century), an elegy, an ode, a story (the so-called small forms), a story, a novel , a multi-volume literary cycle (J. Joyce, J. Galsworthy and others). In the visual arts, there is no less variety: pictorial watercolor and large painting, graphic miniature and large-scale mosaic, portrait, caricature, etc. In cinema and theater: short films and huge serials, small plays for one or two actors and large-scale tetralogy-type opuses. Many forms are also traditional for music: sonata, partita, symphony, concertos for a variety of instruments, including orchestral concertos.
H.f. can be understood in two ways. In the narrow interpretation of H.f. is , subdivided into parts, . So, in music, the sonata is usually written in the form of the so-called. sonata allegro, which includes, like, three parts: an exposition of thematic material, its development and reprise. Each of the parts can be considered in more detail - up to the level of analysis of the smallest trace elements. Continuing the illustration on the musical material, we can say that even such a "smallest" music as pitch, the critic has the right to consider from the point of view. its function in relation to the artistic intent of the work. The division of the form into micro and macro levels is necessary for professional analysis " building material» art and principles of its formation.
In a broad sense, H.f. is a means (or a set of means) with the help of which a work of art is “formed”. The art of form creation (excluding only professional creative art) is always the art of forming new content.
The artistry of form is the biggest mystery in the entire phenomenology of art.
The future of H.f. can be associated with a spatio-temporal characteristic (ultimate compression - hypergrowth, hyperbolization of monumentalism - microminiaturization, extreme brevity - seriality), with increased expressiveness and figurativeness, sometimes to their complete merger, with an increase in the role of symbolization. The future of form creation largely determines the future of art itself.

Philosophy: Encyclopedic Dictionary. - M.: Gardariki. Edited by A.A. Ivina. 2004 .

See what "ART FORM" is in other dictionaries:

art form- (lat. forma external view) internal and external organization, structure of a work of art, created with the help of figurative expressive means to express artistic content. Rubric: Aesthetic categories in literature ... ...

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The question of what form is in art is not as simple as it might seem. The ambiguity of the concept leads to difficulties in defining and classifying its types. Artistic art is realized in various forms, which differ in different parameters. There are several approaches to defining this phenomenon.

What is form in art: the problem of definition

Art is the most important way of knowing the world, with the help of it a person in a figurative form represents his perception of the world. It is an important component of the spiritual culture of mankind. It helps people to satisfy cognitive, aesthetic and social needs. Art has its own, special language, through which it conveys information. Difficulties in defining this concept are due to the fact that the art form is extremely diverse and multifaceted. In addition, art has the characteristic of syncretism, it combines different means of expression, it embodies various ideas that are difficult to define. The strength of the impact and the degree of transfer of ideas in art are directly related to the art form.

Global understanding of form

By and large, art itself is a form. It realizes the entire spiritual experience of mankind and reflects the subjective perception of the world. Accumulating the artistic heritage of civilizations, art becomes an artistic form of spiritual culture. It transforms reality into images and takes materialized forms: books, paintings, performances. In this interpretation, form is understood as art itself as the embodiment of a creative idea and the realization of

Form vs content

The main philosophical problem that has never been found the only solution, is a question of the primacy and relationship of form and content in art. In contrasting content and form, the question of what form is in art is considered through a comparison of these concepts. In this interpretation, form is understood as an inseparable unity external qualities and the internal structure of the object, the form is what the content is clothed in.

The art form in this approach is multifaceted and is realized in the specific structure of the work of art through various expressive means characteristic of certain types of art, genres and styles. These means are always material, therefore, the form is often understood as the material shell of the idea, content.

In a broad sense, a form in art is a way of expressing and existing an artistic idea, i.e. content. The harmonious coexistence of form and content creates the ideological and artistic value of a work of art.

Features of the art form

Art is meant to reflect real life, while it develops a universal language of artistic images, understandable to all people. From this follow the main features of the form in art: it is always conditioned by the author’s intention, that is, it is secondary in relation to the content, it always has a structure, is associated with the constructive characteristics of the work, always contains an emotive component and is always perceived subjectively.

The art form is characterized by both stability and mobility. On the one hand, it obeys the laws of time and types of art, so, in literature, sonnets, romances, elegies, odes, short stories, stories, etc. are stable forms, on the other hand, art is constantly searching for new expressive possibilities, which leads to the emergence of special forms, for example, in literature it is a novel-jazz, a novel-stream of consciousness.

Properties of form in art

With all the variety of forms in art, they have a set of characteristics that allow us to answer the question of what a form in art is. It is inextricably linked with the image, which may not always be meaningful, but always has an emotional component. For example, the art of abstractionism or the poems of the Oberiuts carry an image, but the meaning is not always decoded. The form has visibility, since it always has a material execution in various expressive means, it is comprehended with the help of the senses. It is expressive; in any case, the form is created to convey the idea, i.e. its main function is the expression of an idea. The form is built on the principles of similarity and similarity. Human creativity is always based on some objects that exist in reality, the form is always likened to or opposed to the real objects of the world. It is also diverse, the number of art forms is incalculable, as the fantasy of mankind continues to produce all their new varieties.

Types of art form

There is a tradition in aesthetics to separate the art form in relation to time and space. Forms that develop in time are temporary: literature and music; unfolding in time and space: cinema, dance, theater, architecture; decorative and applied forms that exist only in space: graphics, sculpture, painting, photography.

It is also customary to distinguish such varieties of form as external and internal. The external form is associated with the expressive means used, which are selected and arranged by the author in accordance with the artistic conception and requirements of the genre. The internal form is associated with the development of content in the structure of the work, it is realized in the composition, plot, set of characters.

Each type of art reveals its figurative content through a form that has certain characteristics. Thus, the form in according to A. Hildebrand has four varieties: existence, phenomenon, impact and representation, and has such characteristics as orientation, imagery, expressiveness, tactile value, sensuality.

Form and genre

There is a stable idea that an art form is This point of view has every reason, because a genre is a stable set of formal and content characteristics of a work of art. Each art form has its own set of such forms. For example, there are still life, landscape, portrait, in which there are purely formal parameters that make it possible to realize an artistic concept.

Form and style

The form has a relative independence, it lives and develops according to its internal laws, but temporary factors always exert their influence on it. So, artistic styles have their fixed forms. They, like genres, combine a complex of formal and substantive characteristics. There is an expressive language of Art Nouveau, Gothic, Renaissance, Classicism, Expressionism, etc., which is formed under the influence of the era and the prevailing aesthetic ideals. Each art school at one time prefers its own set of expressive means, which add up to an art form. For example, the baroque form is characterized by splendor, redundancy, scope, intensity of emotions, complex rhythm.

The Ancient World: The Source of Art Forms

The main forms of art began to take shape during its inception and development. In the ancient world, creative activity was distinguished by syncretism, the isolation of individual artistic forms occurs unevenly. First, there is a selection of pictorial forms, this process began in the era of the Paleolithic and Neolithic. The most ancient pictorial form is the ornament. Later, music and verbal creativity appeared, they existed mainly in the form of myths and folklore works. The forms of ancient art were transformed and enriched with an arsenal of expressive means. A little later, the ancient school of arts replenishes the range of forms with theater, choreography, and music acquires special significance. In the Middle Ages, due to the high role of religion, architecture comes to the fore, many new forms are formed in it, which will later become the norm. From the Renaissance to the New Age, a traditional system of art forms is being formed. The genres of literature, painting, and choreography are finally being formed. The era of great styles enriched the treasury of art forms and completed the formation of a traditional set of stable features. Since that time, there has been a growing trend towards the creation of synthetic art forms that would combine the capabilities of several traditional varieties.

Modern shape transformations

Technological progress leads to visual arts is experiencing a surge in the generation of new forms of art. There are new and synthetic forms and means of embodying the author's intention: photography, cinema, television. Art seeks to use the possibilities of technology to solve artistic problems.

today form contemporary art going through the times of modernization again. There are such new forms as: body art, performance, graffiti, actionism. And the development of digital technologies provokes the emergence of installations, media art, 3D video.

The synthetic trend continues today, contemporary artist less and less often uses the possibilities of one form to embody his idea, and the answer to the question, what is a form in art, is becoming more and more difficult to find. We see that even in such low-tech areas as literature and painting, new art forms are emerging. So, all the works of postmodernism try to combine several forms, for example, the novels by M. Pavich "The Khazar Dictionary" and U. Eco "The Name of the Rose" combine different genre, style and functional characteristics.

Art as a cultural phenomenon is divided into a number of types, each of which has a specific language, its own sign system. We distinguish the following types of art.

1. Architecture (architecture) - art form, which is a system of buildings 1 structures that form spatial environment for human life. Architecture has a special place among other art forms, because it does not depict objects, but creates them. Architecture can be public, residential, urban planning, landscape gardening, industrial, restoration.

2. Painting - a form of art whose works are a reflection of life on a certain surface using color .

A work created by a painter is called a painting. The picture can be painted on wood, paper, cardboard, silk or canvas.

The totality of works united by a common range of topics or objects of the image is called a genre. In painting, the following genres are distinguished:

Portrait - an image of a person or a group of people who exist or existed in reality;

Still life - an image of things surrounding a person;

Landscape - an image of natural or man-transformed nature;

household genre- image Everyday life of people;

Animalistic genre - the image of animals;

Historical genre - the image of historical events and figures.

Distinguished from painting graphics, which, like painting, is associated with an image on a plane, but its works are made on paper, smaller in format and easier to move in space.

Distinguish easel, book, magazine and newspaper graphics. The genres of graphics basically repeat the genres of painting. To a certain extent, caricature is a specific graphic genre of graphics.

3. Sculpture - a kind of fine art, the works of which have a physically material, objective volume and a three-dimensional form, placed in real space. The sculpture is divided into v round (head, bust, torso) and relief - a convex image on the stone. All reliefs are divided into bas-reliefs, high reliefs and counter-reliefs. A bas-relief is a low relief that rises above the plane by less than half of its relief volume. High relief is high relief, which rises above the plane by more than half of its real volume. The counter-relief is an in-depth relief.

Distinguish sculpture easel, decorative and monumental. An easel is a small sculpture intended mainly for decorating a room. Decorative - medium sculpture, and monumental - large and huge.

4. Arts and Crafts- a type of fine art that is directly related to the everyday needs of people. This type of art includes works made from a variety of materials - wood, clay, stone, glass, metal, etc. A feature of this type of art is its utility, inclusion in people's daily lives.

5. Literature - a form of art that reflects reality in verbal and written images. First literary works- legends, myths, epics - appeared even when mankind did not yet have its own written language, and were passed from mouth to mouth. Oral folk art is called folklore.

6. Music - a kind of art that reflects reality in sound artistic images. Music intended for singing is called vocal music. If the work is performed only on instruments, then it is called instrumental.

7. Theatre - a kind of art, the specific means of expression of which is a stage action that occurs in the process of an actor playing in front of an audience.

8. Circus - the art of acrobatics, balancing act, gymnastics, pantomime, juggling, clowning, musical eccentricity, horse riding, animal training.

9. Ballet - a kind of art, the content of which is revealed in dance and musical images.

10. Cinema - a kind of art, the works of which are created with the help of filming of real events, specially staged or recreated by means of animation.

11. Photo art - the art of creating by chemical and technical means a visual image of documentary significance, artistically expressive and authentically capturing an essential moment of reality in a frozen image.

12 Stage - a form of art that includes small forms of dramaturgy, music and choreography, the main works of which are separate completed numbers.

End of work -

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Noyabrsk-2012
Introduction This course is intended for first-year students of secondary vocational education Noyabrsk Institute of Oil and Gas Tyumensko

Public relations
1. Definition of the concept "Society". 2. Subsystems of society. 3. Classification of society. 4. Stages of development of society. 5. Interpersonal relationships

And antiquity
1. Ancient thinkers about the world and society; 2. Ancient Indian Vedas about the origin of the world; 3. Sages of the Taoist school; 4. Confucianism; 5. Plato and Aristotle on general

The development of social science in modern times.
1. The theory of the "Social Contract"; 2. To the "Golden Age"; 3. "Civil Society" G.V.F. Hegel; 4. On the way to scientific sociology. theory of public

To the golden age
At the end of the 18th - beginning of the 19th century. French philosophers Henri Saint-Simon (1760-1825), Charles Fourier (1772-1837) and the English socialist utopian Robert Owen (1771-1850) put forward the idea of ​​a just society,

To the study of society.
1. The concept of "Socio-economic formation". 2. The concept of "civilizational approach" In the domestic historical and philosophical science, there are formational and qi

The concept of progress.
Progress is the direction of development, which is characterized by forward movement societies from lower and simpler forms of social organization to higher and more complex ones.

There are two forms of social progress: revolution and reform.
A revolution is a complete or complex change in all or most aspects of social life, affecting the foundations of the existing social order. "Mechanism" real

Man as a biosocial being
1. Man, individual, personality, individuality; 2. Man as a biosocial being; Man, individual, these words in scientific and popular literature

Creature
Philosophical disputes about human nature have a long history. Philosophers most often call the nature of man binary (double), and the man himself is defined as a biosocial being, possessing

The concept of "Being".
Being is the most general and abstract concept denoting the existence of anything at all. In philosophy, this concept also denotes an existing independently of consciousness.

Talent and genius.
Directed by the action of needs, human activity is carried out due to the presence in the individual of the richest complex of abilities. By ability I mean

Socialization of the individual.
1. The concept of "Personality"; 2. The concept of "Socialization", its role. 3. Agents and institutions of socialization, their functions”; 4. Public relations. Formal and informal interpersonal

The concept "Socialization", its role
Humans are born, they become individuals in the process of socialization. Socialization is the process of influence carried out throughout the life of individuals.

Under the agents of socialization refers to specific people responsible for educating others.
There are agents of primary socialization (parents, brothers, sisters, close and distant relatives, friends, teachers, etc.) and agents of secondary socialization (officials of the university, enterprises,

Public relations.
In the course of their life activity, people enter into various social relations with each other. One of the types social relations are interpersonal relationships, i.e. the relationship between about

Spiritual world of man
1. The spiritual world of the individual; 2. Worldview and its types. The spiritual world of the individual The spiritual world of the individual (human microcosm) is integral and at the same time against

Worldview and its types.
An important element of the spiritual world of a person is his worldview - a set of generalized views on objective reality and a person's place in it, on the attitude of people to the environment.

Intuition
However, although sensory and rational knowledge play a huge role in obtaining new knowledge, nevertheless, in many cases they are not enough to solve any (and problems)

Absolute and Relative
In the history of philosophy there are various definitions concept of "truth". The classical definition - truth is the correspondence of a person's thoughts to the surrounding reality. In modern

Knowledge
driving force the process of cognition, as well as the criterion of truth is practice. Practice is an active activity of a person in interaction with the surrounding material.

Principles and levels
scientific knowledge; There are two levels of scientific knowledge: empirical and theoretical. The main task of the empirical level of scientific

Features of social
knowledge; Cognition is the process of human activity, the main content of which is the reflection of objective reality in his consciousness.

The development of human knowledge.
The search for an answer to the question of how and when a person originated, what is his place in the world around him, has a long history. In primitive forms of religion,

Science and its role in society
1. The concept and role of science; 2. Social Features science; 3. Models for the development of scientific knowledge. Paradigm. The concept and role of science;  

Knowledge. Paradigm
Modern scientists have developed several models for the development of scientific knowledge. The first is a model of the gradual development of science. The essence of this model is expressed in the statement

Morality and its role in society
Morality are ideas and rules that usually exist in the form of unwritten laws and express collective ideas about good and bad, fair and unfair, etc.

I. Kant
. Morality exists due to the moral ideal that exists in the public mind. The moral ideal is an absolute criterion for evaluating a person's actions from the point of view of

Concept definition
"Religion"; The term "religion" translated from Latin Literally means "binding, re-addressing something. Much harder to define

world religions.
All currently existing religions can be conditionally divided into three large groups: 1) tribal primitive beliefs that have survived to this day; 2) national-state

Origin
Art is a specific form of social consciousness and human activity, which is a reflection of the surrounding reality in artistic patterns.

Functions of art
Art is polyfunctional: it performs many different functions in society: it, having an ideological and aesthetic impact on people, includes them in a directed and holistic

Initial; average; specialized secondary; higher.
The first schools appeared in the era ancient world. Their creation was explained by the practical needs for educated people: without such people, the state apparatus could not function effectively.

In modern Russia
The education system is understood as a set educational programs and standards, network educational institutions and governing bodies, as well as a set of principles that determine its functioning

economic crisis, it
phases, periodicity; One of the features of a market economy is the tendency to repeat such economic phenomena as an increase or decrease in demand, an increase in

Economic cycles.
Economists distinguish between short, medium and long economic cycles. Short cycles last about 4 years. Usually they are associated with the restoration of equilibrium on consumer goods.

Economic growth is understood as a quantitative increase and qualitative improvement of social production.
At the level of an individual enterprise, economic growth leads to an increase in its role and place in the market, and an increase in the well-being of the employees of the enterprise. At the societal level, economic growth

Legal aspects of the economy.
1. Legal aspects of the economy; 2. Ownership. Main types of ownership; 3. Privatization of property, its types. Legal aspects of economics

Her types.
As a rule, privatization becomes the predominant form of denationalization in transitional periods of economic development. It can be of several types and is carried out by a variety of

Mode of production
The successful functioning of production depends on the factors of production - the productive forces of society. At all stages of human development, the main

Capital and its types
In a broad sense, capital is understood as everything that brings income to the owner. These can be means of production, and leased land, and cash deposits in a bank, and used in production.

Entrepreneurship: essence, functions, types
1. Essence and types of entrepreneurship; 2. Functions of entrepreneurship; 3. Groups of entrepreneurs. Profits and production costs. Essence and types of predp

Entrepreneurship functions.
Scientists-economists identify three main functions of entrepreneurship. The first function is resource. Any economic activity requires economic resources:

Entrepreneur groups.
Profits and production costs. The countdown of the current history of entrepreneurship begins on January 1, 1991, when the Law of the RSFSR of December 25 came into force

Supply and demand
A simple model of supply and demand provides answers to the following questions: 1. Why do prices rise or fall for a particular product? 2. What is happening with the economy, EU

State budget as
the main financial plan of the country; The state budget is an important link in the financial system of any country, combining the main revenues and expenditures of the state.

The budgetary process of the country.
The procedure for drawing up, reviewing, approving and executing the budget is called the budget process. The budget process in the Russian Federation is regulated by the Constitution and legislation Russian Federation and with

budget deficit
In the process of drawing up and executing the budget, the state, as a rule, is faced with the impossibility of achieving equality of its revenue and expenditure parts. In this case, it is possible

State debt
The amount of outstanding obligations of the state to creditor banks, individuals and legal entities, owners of government securities (residents and non-residents), not

Her criteria.
Under the social (stratification) structure is understood the stratification and hierarchical organization of various strata of society, as well as the totality of institutions and relations between them. The term "s

social mobility.
In the very general view In modern society, three stratification levels can be distinguished: the highest, the middle and the lowest. In economically developed countries, the second level is

Personal and social
statuses; Social status is the general position of an individual or social group in society, associated with a certain set of rights and obligations.

social roles. Role conflict
The social status of a person primarily affects her behavior. Knowing the social status of a person, you can easily determine most of the qualities that he possesses, as well as predict

social norms. social behavior
1. The concept of "Social norms", their classification; 2. Social sanctions, social control. 2. Deviant (deviant) behavior; In pro

Education
The family is a complex social entity. A family is a community of people based on a single family-wide activity, bound by the bonds of matrimony and thereby about

Types of family structures
Depending on the nature of the marriage, the characteristics of parenthood and kinship, the following types of family structures are distinguished: 1) monogamous marriage and polygamy. Mono

Parents and children
The legal basis for the relationship between parents and children is enshrined in the norms of family law. The definition of the concept of "child" is contained in paragraph 1 of Art. 54 of the Family Code of the Russian Federation: a child is

The views of philosophers
causes of conflicts; Social heterogeneity of society, differences in income, property, power, prestige, horizontal and vertical mobility

Conflicts
The emergence of any conflict is preceded by such a combination of objective conditions and circumstances that creates a real subject of the conflict. This combination is called sociologists

Make a decisive impact
on the activities and behavior of people through any means. Every society needs power, which is a necessary condition for its

Functions of the political system
The following functions of the political system can be distinguished: 1) determination of tasks, ways of development of society; 2) organization of the company's activities to achieve the set

The political system of society
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Monarchy and its forms
In the past, the absolute MONARCHY was the most widespread and longest existing form of state. Under her rule, the head of state was the sole, autocratic ruler - Prince

federal state
It differs from the unitary one in that its constituent public entities(states, lands, provinces, republics and other regions) have a certain independence and have

totalitarian state.
According to the political regimes existing in the countries, three types of states are also distinguished: totalitarian, authoritarian and democratic. At the same time, the political regimes themselves are distinguished by the degree of security

Democratic state.
As you know, in Greek, "democracy" means "rule of the people." But how to practically implement people's power, in which it would be good for everyone: not only for the majority, but also for minorities

Signs of democracy
Democracy is characterized by the following features: 1) recognition of the people as the source of power and the bearer of sovereignty. It is the people who have the constituent, constitutional power in the state

Elections and referenda
General institutions of democracy are organizational forms through which democratic principles are implemented. These include: the election of the highest bodies of the state, without which it is impossible to

Immanuel Kant.
Humanity approached the real embodiment of the idea of ​​a rule of law state by the end of the 20th century. The idea of ​​a legal state was first put forward by Aristotle, but the most complete reflection

Political culture, its types
The subjective side of political life is reflected in political consciousness. It is able to get ahead of practice: to predict the development of the political process, and, consequently, to provide

Law in the system of social norms.
One of the ways to harmonize the interests of people and smooth out the conflicts that arise between them and their associations is normative regulation. regulation of the behavior of individuals under

legal relations
In the course of their lives, people enter into various social relationships with each other. Many of these relations are governed by the rule of law and therefore are called legal relations or legal relations.

And tortiousness
The nature and degree of participation of subjects in legal relations are determined by their legal personality, which includes three legal properties: legal capacity, legal capacity and tort capacity.

Offenses
With regard to law, people's behavior can be legally neutral (indifferent) and legally significant. Legally neutral behavior is not regulated by law and does not entail legal

Legal liability and its types
1. Signs of legal responsibility. 2. Functions of legal liability 3. Principles for exercising legal liability 4. Types of legal liability

Responsibility
The main and most general purpose of legal responsibility is the protection of human rights and freedoms, ensuring law and order in society. This goal determines the functions of the legal

Legal liability
The achievement of this goal is served by the following basic principles for the implementation of legal liability: 1. Legal liability is imposed on the offender only

Types of legal liability
Depending on the nature of the offense committed, the following types of legal liability are distinguished: civil, material, disciplinary, administrative and

Human rights and freedoms
1. The concept of human rights. 2. Legal obligations. 3. International acts on human rights The concept of human rights. The concept of human rights - od

Legal Responsibilities
A necessary condition for the realization of human rights and freedoms is the fulfillment of their legal obligations. Legal obligations are the requirements established and guaranteed by the state.

human rights
Human rights have long been one of the global problems modernity, one of the priority areas of cooperation various states. The ideas of the world community about the rights and freedoms of the

The role of the constitution in society.
The leading place in the system of state legislation is occupied by the constitution (from Latin constitutio - establishment, institution, device). The constitution is the fundamental law of the state

The structure of the Constitution of the Russian Federation
The Constitution of the Russian Federation, which is the Basic Law of the State, was adopted by popular vote on December 12, 1993. The text of the Constitution consists of a preamble that sets out the goals and

Unity of the system of state power
It manifests itself in the presence of federal bodies state power, whose powers extend to the entire territory of the country, in the supremacy of the federal Constitution and legislation. subject

Treaties
Bilateral or multilateral transactions are called contracts. An agreement is a single expression of will of two or more persons and is a lawful action aimed at achieving

Responsibility of minors
1. The branch of Russian law that regulates relations that arise in connection with the commission of a crime is criminal law. It is a collection of legal

A crime.
A guilty socially dangerous act, prohibited by the Criminal Code under the threat of punishment, is recognized as a crime. Crime has a number of characteristics.

System and types of punishments
Criminal liability is a kind of legal liability as an obligation of a person to answer (to suffer hardships provided for by law) for the committed crime.

FORM ARTISTIC (lat. forma - external view) - in a broad sense - this is the structure, organization, external expression of artistic content; in a narrower sense - a set brought to unity artistic means in a separate work (holistic art form). The first meaning is connected with the concept of "artistic language". Some levels are directly conditioned by the spiritual and figurative content and are aimed at the social and value aspects of reality - this is the so-called internal form (structural-compositional, genre-constructive aspects of art). Others are motivated by the material of art and gravitate towards it - the so-called. external form (concretely sensual means: a colorful brushstroke, shading, sounding speech, tempo, texture of an artistic surface, etc.). The internal form (see,) is primarily a general aesthetic aspect of art, while the external form is a means of depiction specific to its individual types.

The beauty of art finds its expression both in its content and in its form. Classical aesthetics has long considered proportion, proportion, integrity, and other properties of a beautiful object and its form. But not only they determine the aesthetic value of the form: it is designed to express the fullness and originality of the content, to help it open up in accordance with its capabilities and requirements of aesthetic perception. The aesthetic value of form was repeatedly emphasized by the classics of Marxism. “First of all, I will touch on the form. I was very pleasantly struck by the skillful plot of intrigue and the drama that permeates the play,” wrote F. Engels to F. Lassalle.

Fundamentally important for Marxist-Leninist aesthetics is the position on the leading, determining role of content in relation to form, on the lagging behind of form and its relative activity, on the contradictions between them, which are removed only in the process of art development. These patterns are most clearly manifested when considering the historical development of art, the change in its styles, directions, currents (extremely significant in this respect is the comparison of classicism, sentimentalism, romanticism, critical realism), in the dominant genre system of one or another stage of artistic culture. New form arises as a result of the content-value search for art, and not as a replacement for the old form, regardless of this search, which was claimed by the “formal school” in literary criticism and repeated by its followers. At the same time, it would be methodologically incorrect to deny the relative independence in the development of the artistic form and its active influence on the content. There is an internal systemic interconnection of means of expression in a particular form of art, in a genre and style that rejects, for example, some components and includes others. Different types and genres of art influence each other, modifying the art form (and dance, graphics and painting, fiction and cinema, etc.). In the process of development of art, it is possible, as it were, a spontaneous, premature discovery in the sphere of form, which is only subsequently mastered in terms of content. There is an inertia of the canon and the formal discoveries of a genius in the art of modern times.

In a work of art, the contradictions between content and form must ultimately be removed. However, the ideal correspondence of a full-fledged content and an adequate form in art is, according to V. G. Belinsky, the property of one genius; and simple talent relies either predominantly on the virtues of form or on the virtues of content. It is advisable to distinguish the concept of the unity of content and form (including contradictions, struggle) from the concept of correspondence between content and form, as a certain artistic criterion, meaning consonance, uniformity of progressive and artistically developed content and full-fledged form.