Abstract: The subject of this research is, first of all, the ontological and phenomenological aspects of the prototype as a category and a kind of phenomenon in the field of art and poetic imagination. The research is carried out mainly on the material of the phenomenological-dialectical concept of A. F. Losev and the phenomenology of the poetic imagination of G. Bashlyar. The historical, philosophical and theological contexts of the concept of the prototype of Losev are revealed. The emphasis is made on the ontological meaning of expression and the prototype, on the ontology of aesthetic and art. Losev's concept, as well as the "direct ontology" of the poetic image in the concept of Baschlyar, are applied to the artistic material that organically meets them. These are the texts of N. Gogol: "Sorochinskaya Fair", "The Night before Christmas", "Terrible Revenge", "Old World landowners", "Viy". The theme of the prototype as an archetype revealing the deep semantics of art has been sufficiently developed, in particular, based on the material of K. Jung's analytical psychology. The novelty of this study includes several aspects. Firstly, based on Z. Freud's approach to the close connection of the infantile-personal and the archaic in the psyche in the interpretation of this artistic material, Freud and Jung's approaches are combined, it is concluded that archaic and eroticism in the primordial element are merged into one whole, therefore it is not necessary to categorically oppose these two approaches to each other, at least when referring to archetypal material. Secondly, this study focuses on the ontological and phenomenological aspects of the prototype, which are not given enough attention in various studies. Thirdly, the study combines concepts such as phenomenological-dialectical (Losev), phenomenology of poetic imagination (Bashlyar), intertextual analysis (Weiskopf) in relation to the subject of the prototype, which in their interaction allow us to more fully reveal the primitive element of art. All this can contribute to the creation of a holistic concept of the prototype in art and in the sphere of poetic imagination.

Abstract:  
Based on the ideas expressed by J. Rancière in the work “Aesthetic Unconscious”, this article reveals the essential role of phantasm as a component of aesthetic structure in literature art. At the same time. The author discusses the founded on the unconscious intentions and has compulsory power work of fantasy, the product of which is the phantasm. Freud’s theory determines such peculiarities of fantasy that are stipulated by its aesthetic potential. Leaning on the ideas of J. Rancière, the article identifies the points of common and divergence Freudian and aesthetical unconscious. Thus, special attention is given to the topic of des Unheimlichen in Freudian and aesthetic unconscious. The novel of N. Gogol “Viy” manifests as a unique literary source for the study of this topic. Storylines of the text hold central place in interpretation of the space of unheimlich-phantasm. The author also touches upon the theme of appropriateness of the psychological interpretations in fiction alongside the so-called “dream realm”, which due to the coexistence of Freudian and aesthetic unconscious obtains more in-depth meaning. Phantasm becomes inscribed into the aesthetic structure of the oeuvre in such way that the libido (of an artist, reader, or spectator) attains a form of this particular phantasm and the corresponding to it images. This is crucially important due to the fact that Freud, perceiving the aesthetic from the perspective of formal attractiveness, in its aesthetic aspect, allocated the place of merely “alluring prize” to the actual creative form.
 

Abstract: The reasoning of Plato on beauty, art is often criticized, especially from the time when the aesthetic sphere began to be understood as a purely autonomous (superficial interpretation of the concept of autonomy is not allowed to consider the phenomena of art and beauty in the long term benefits), and the usefulness of art, which Plato put acutely philosophical issues, has moved into the sphere of social-democratic ideology and social thought, has acquired a journalistic character. In this article the aesthetics of Plato is seen in the horizon of good ideas. Attempts to draw parallels between the critical reasoning of Plato on art and a number of ideas of such thinkers as J. Winkelmann, J. J. Rousseau, F. Nietzsche, S. Freud. So, we can talk about overcoming the habit of talking about art in general only in the positive sense, about the protest against the aesthetics of the passion as a socially harmful phenomenon, etc. In the context of reflections about the beauty and art reveals the comparison at first glance alien to each other phenomena - the "natural" man Rousseau, a citizen of the ideal state of Plato. The paper shows also how in the future the idea of the good of Plato develops the theme of pure pleasure - a theme that has continued in the areas of post-classical art, abstractionism and minimalism. In the context of the good ideas also emphasized the erotic relationship of the philosophy of Plato with the sphere of theology. In this article, we have used some of the principles of ontological studies, hermeneutics, and comparative and phenomenological methods. This study revealed a positive sense of criticism of Plato common "cave" views on art and beauty and is accented existential dimension of these phenomena in the philosophical aesthetics of Plato. All analogies and parallels given in the study, not random. They allow to identify a still relevant content of Plato's aesthetics, which as the entire Plato's philosophy, is a search of good, and its foundations within the human being.