Purpose. To consider the personal nature of Cartesian metaphysics. Its implementation involves: a) outlining methodological changes in the philosophy of the twentieth century; b) analysis of ways to interpret anthropological component of philosophizing in Descartes studies; c) appeal to Descartes’ texts to clarify the authentic form of his interpretation of metaphysics. Theoretical basis. I base my view of Descartes’ legacy on the conceptual positions of phenomenology, existentialism and hermeneutics. Originality. Based on Descartes’ own concept of teaching, the author substantiates the (...) personal nature of Cartesian metaphysics. Important prerequisites for its comprehension are attention to the ethical motive as the driving force of philosophizing and recognition of the importance of the poetic worldview. The idea of the basic role of poetics finds its meaningful confirmation in the texts of the philosopher, who interprets the main areas of philosophy as the forms of art. Conclusions. Based on his own vision of anthropology and metaphysics as the forms of completion of the revolution initiated by Copernicus, the author defends the idea of the constitutive presence of personality in Descartes’ metaphysics. In the process of studying the research literature, methodological guidelines are outlined in the form of the importance of personal determination of the search for truth, the key role of ethical motive and art as components of philosophizing. The thesis about the poetic form of presentation of metaphysics by Descartes as a form of fixation of its personal dimension is substantiated. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)

Purpose of this work is to find the key to understanding the paradox of Descartes’ way of philosophizing during the recourse to the text of "early writings". Realization of the set purpose involves the consistent solving of such tasks: by referring to the research literature, to outline the forms of transition to modern methodology; to explicate the main reasons for philosophy anthropologization by Descartes; to analyze the role of art as the main form of expressing Descartes’ worldview in the "early (...) writings". Theoretical basis. Studies by Descartes experts and the phenomenological tradition. Originality. The analysis of the "early writings" allows to determine the origins of the main doctrine of Descartes’ philosophizing. Its role is manifested in the course of clarifying the main motives of the anthropological approach of the French philosopher. That entails their rootedness in the Copernican-based scientific revolution of the New Age. A prerequisite for the authentic comprehension of the radical change carried out by Descartes is the attention to the paradigmatic significance of art, which is most fully asserted in the "early writings". It is substantiated that the appeal of young Descartes to the experience of art influences his understanding of science, as well as the awareness of human presence in the development of the scientific picture of the world and the distinction of the main components of human nature – mind and will. Conclusions. During the analysis of the contemporary literature devoted to Descartes, there is outlined the tendency to go beyond the notions of naivety and simplicity of his position, one of the manifestations of which is the increased attention to anthropology. The main motives for its actualization are rooted in the scientific revolution of the New Age, which are the form of completion of the radical worldview change initiated by Copernicus. It is about the vision of man as the main component of the universe, attention thereto in the search for the source point and the decisive authority for the world development, reflection of the thinker’s desire to build his own ethical doctrine based on human nature. While comprehending the "early wri-tings", the author focuses on the interpretation by young Descartes of art as a form of expression of truth, which enables the authentic comprehension of human nature. These ideas became the basis for the further work of the thinker, and today they open up new perspectives of exploring the anthropological foundation for later works. (shrink)