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https://doi.org/10.20339/PhS.4-19.057
Zhitenev Aleхandеr A.,
Doctor of Philology, Associate Professor, Associate Professor of
the Russian Literature of XX–XXI Centuries,
Theory of Literature and Folklore Department
Voronezh State University
е-mail: superbia@mail.ru
In the aesthetic theory of modernism, the category of novelty has always been the most important evaluative criterion; however, the ideas on the essence of the “new”, the ways of its creation, and the role in the creative practice have been different. The article aims to identify and characterize all the contexts of use of the category of the “new” in the “Apollo” magazine. It has been established that to the authors of “Apollon”, novelty is an important, but not the only criterion of the value of artistic expression. Novelty is personal, and the value of the “new” consists in the endowing of individual existence with the sense. To be new means to be able to see the world in a new way and find a form to consolidate this vision. In this sense, the novelty to the authors of “Apollon” is not a relative, but an absolute quality, since it is associated with the unique place that the artist occupies in the culture. In the magazine publications, novelty is interpreted as the effect of crossing of cultural and time boundaries. The “new” is the result of the exploration of the “exotic”, or the “archaic”; an element of style game is important in it. The “new” is seen in a double perspective: it is the “new” now and the “new” in the future. The circle of expectations associated with the “new” is quite wide, but the most important role in it belongs to the metamorphoses of sensuality — the “new sensations” and the “new forms of life”, for which the writer should strive.
Keywords: new, the history of the “new”, aesthetic novelty, aesthetic theory, “Apollon”.
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