До проблеми образотворчого тропосу: філософсько-естетична рефлексія концепту «фігура» (To the problem of tropos in visual art: philosophical and aesthetic reflection of concept «figure»)

Abstract

Розглянуто концепт «фігура» в аспекті його релевантності щодо образотворчості з огляду на ізоморфізм між образотворчими феноменами та вербальними риторичними модифікаціями. Автор опирається на структуралістську та неориторичну інтерпретацію ідей класичної риторики та виявляє генезу, структуру та функції риторичних модифікацій у мистецтві. Образотворчі риторичні операції показано як відношення, що становлять систему синтагматичних іманентних (композиційних) зв’язків тексту. Автор презентує фігури як ритмічні за природою утворення та експлікує значення таких формальних операцій як засадничих у формоутворенні в усіх мистецтвах. (The article describes the concept of «figure» in terms of its relevance in the visual arts in view of the isomorphism of visual phenomena and verbal rhetorical modifications. Author based on structuralist and neorhetoric interpretation of the ideas of classical rhetoric and reveals the genesis, structure and functions of rhetorical modifications in art. Rhetorical operations in art are shown as the relationship constituting the system of immanent syntagmatic relations in literary text. The possibility of adapting the functional definition of the figures to the visual arts is revealed. The essence of this definition, characterizing the figure as a way of marking and affective impact on viewers, revealed with the help of the concept of estrangement, suggested by V. Shklovsky. The article accentuates the de-automatization of vision realized with this phenomenon and the function of autoreference of work aimed at enhancing the ability of the viewer to «see the language» through the elimination of the subject of image from a utilitarian context. It is marked the dependence of rhetorical modifications of the perception of the viewer, allowing the author to admit the universality of the repeat operation as «continuous parallelism» (R. Yakobson) as the basis of artistic rhythm in the visual arts, impelling the viewer to «notice» the iconic figure. The article considers the problem of the relation of meter and rhythm in art. The author comes to the conclusion about the rhythmic nature of rhetorical figures in art, arguing this thesis that the structure of rhythm is the ratio of the standards and violations, matching, in this way, the structure of rhetorical modification. The explication of meanings of marked rhetorical operations is implemented as a basis for morphogenesis in all kinds of art. It was found that the principle of proportional and rhythmical unity appears in art as a form of implementing of rules of the functioning of poetic language, realizing the projection of axis of the equivalence on the axis of combination.