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.

Abstract: On the basis of a detailed analysis of a number of key provisions of the phenomenology of imagination of Edmund Husserl and Jean-Paul Sartre this article identifies ways to apply these concepts to phenomenological ontology and aesthetics. In particular, on the basis of these concepts and by the example of the theme of the geometric structure as an aesthetic phenomenon (the case study of the minimalist sculpture) one possible direction of phenomenological investigation of the essence of the aesthetic imagination is planned. In connection with the theme of imagination the article focuses on the Husserl's ideation concept. Husserl believed that it was the imagination which opened up many horizons of essential knowledge. This Husserl's concept is illustrated by the author by the example of the essential terms of the discretion of the phenomenon. In his research Dubovitsky uses the methods of phenomenological description, eidetic intuition and a number of other aspects of the phenomenological method. In Sartre's imagination theory the relationship between an image and the world is viewed as that the image is not having any place in the world and therefoe is reduced to the situation of being - in - the world, and this situation is the place "from" which imagination develops. Based on this key point of Sartre's theory Dubovitsky makes an assumption about the possibility to emphasize a phenomenological imagination study from the phenomenology of "pure" consciousness of Husserl as well as phenomenological ontology in the version of Sartre to the phenomenological ontology of Dasein (represented in the analyst of human existence by M. Heidegger) and to think an image and imagination in the phenomenological ontology in terms of space, vastness, place and the world. This reemphasis (its premise, as mentioned above, is contained in Sartre's theory of the imagination) must overcome rigid opposition and confrontation of the world and consciousness within the confines of the phenomenological study of the imagination which is the determining factor in Sartre's concept.