|Spirit of Poetry and its Body|
|Title in the language of publication:||Душа и тело поэзии|
PhD in Philosophy, Associate Professor of the Institute of Philosophy of the Saint Petersburg State University.
Address: 7/9 Universitetskaya emb., St. Petersburg 199034, Russia.
|Document type:||Research Article|
|Acknowledgments:||The present study is a part of the project No. 16-03-00669, “Logos and Poesis: A Philosophical Hermeneutics of Russian Poetic Discours”, implemented with a financial support of the Russian Foundation for Basic Research.|
In this article, poetry is treated as the most important product of chronopoesis, which is spontaneous time production. In such a regard, a question is raised about the relationship between the soul of poetry (which itself is the light soul of the world) and its possible body, and a detailed comparison of poetry with the closest to it “formations of the spirit” — music and painting — is performed. As a result, the poem itself (opus) appears as a point of crystallization of the through poetic dimension of everything that exists and what is happening. Poetic techniques are considered here as operations within time itself, a kind of temporality combination that allows us to compare the experience of poetry with the modern physics. At the same time, the poetic intuition (and the intuition of the art as a whole) appear as demiurgical practices, the explicit development of which looks extremely promising.
In turn, poetry (as well as the art in general), being a symbolic production, can be considered as pure procedurality creating opuses, as well as the effects of poetic charm from one hand, and a product characterized by sustainability and reproducibility from the other hand. It might be, for example, an archive of created and acknowledged poems and a set of techniques that can be studied — at least in order to start with. At the same time, the body of poetry, like the body of music, is extremely plastic and flexible, it is subject to a variety of transformations, but it everywhere remains a refuge of the soul or, if you like, a universal ability of poetic grasp of the world.
The relationship of poetry with the body of everyday life, with the routine mode of presence does not imply any regularity — because poetry ends just where the predictable regularity comes into its own. Because of this, the transformative effect of art appears quite elusive: everything that is assigned to consciousness as a part of the sensorium, receives the status of nature — and loses the traces of its origin.
Chronopoesis, inner time of phenomena, poetry and painting, Poesis of the Universe, spontaneity, the origin of the body.
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© Alexander Sekatskiy, 2019