It is accepted that the super-category is beautiful, but in the evolution of aesthetic knowledge other categories are also rehabilitated: exquisite, graceful, grotesque, ugly, etc. Beautiful and ugly - Beauty is universal. The beautiful is in accordance with the ideal. But it is too difficult to define. Beauty is treated as absolute coercion, or beauty will be an inherent property of things, or that it is the result of our attitude towards things, it is in us. Beauty correlates with ugliness - they are symmetrical equal categories, but in this opposition ugliness has always been discredited. The ancient Greeks do not allow the ugliness of science, they have grown into a cult of beauty. Somewhere the ugliness was admitted to comedies in the Middle Ages, but the ugliness has continued to overlook it. Reappearance of ugliness only occurs during the enlightenment - in life the beautiful and the ugly mix and perhaps even the ugly is more expressive than the beauty. In 18-19 century the aesthetics of the ugly is written. T

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he ugly is declared the main subject of art (this happens during the decade). Romanticists also have an affinity for the ugly because of the beautiful background, the beautiful looks more beautiful. Exalted and low - The Highness owes its existence to rhetoric. It blooms in late antiquity. Followers of the Byzantine School believe that there should be consistency between what they said and the way they said it. In speech there are styles and they are something functional. The lesson for the three styles is the oldest (it is preserved through classism - French and Russian). Strict style - He likes things that are quite ridiculous and scary. Elegant Style - This style describes phenomena whose beauty is the main reason to be discussed. Medium-style - It mediates rhetorical techniques in the service of more informal themes. Anglican philosopher Berg pointed to the exalted human fear. Things that cause fear and man can not deal with them - he is inclined to deify (demonize). Kant - ("Analyze of the Sublime") where he opposes the beautiful and the sublime. He says: "The beautiful thing is what is well shaped." Exalted is beyond our cognitive ability. The height, according to Kant, is no different from the idea of quantity. He speaks of mathematically lofty and dynamically exalted. It is related to the ability to desire. The exalted excites the spirit, and the beauty calms it. The elevation is the transitional category between aesthetics and ethics. Hegel compares the sublime with the infinite - that which transcends the human measure. Hero is the person who is capable of such actions that go beyond the average measure. Some say that the sublime and the beautiful are opposites, but others that the sublime is a variation of the beautiful. Both the invincible and the inferior are also related to real and ideal. Exalted and low express the quantitative relationship between real and ideal. The beautiful quality and quantity are in harmony (measure). The elevation of the measure is more extensive. That phenomenon or human action in which force is required - the ideal of exalting is manifested, while the lower is the opposite - there is hostility to the ideal. Exalted and inferior are not universal, they manifest themselves only in human actions. The first object of deification was nature. A higher insult to the idea of the exalted is the idea of God. The Gothic cathedral is uplifted. The heroic man is inspired by spiritual, ideal motives. Tragically and comically - They are not symmetrical, the only thing that connects them is that they are not value properties of objects but of processes. we know these names in relation to some action, they derive from the dramatic perception of the world. The deep ground of tragedy comes from smart. Man is an ultimate being, and human death is a tragic farewell. Tragic is related to the ability to comprehend. Aristotle first sets the tragic as compassion. Tragedy is imitation of acts of reality and viewers through compassion and fear are being purified. Aristotle emphasizes that the action on stage first affects us after which these effects are taken away and we feel calm and enlightenment. Hegel says that true compassion is sympathy for the sufferer, who justifies it morally tragic is the doom of the ideal. For tragedy, there must be a tragic situation and a tragic loss. The tragic situation is conflicting, with two forces in it and one of them dying. There are different types of tragic situations: the oldest - the man against nature; -socially tragic - a person is beaten in his struggle for his ideal, yet he continues to struggle. Poly is the case when one force is the bearer of the progressive, the new one, and the other the opposite.

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The heaviest case is when both sides have their positives and arguments. The most tragic situation is the one in which a person is forced to idle, but who has an internal need to fight and suffers from this forced inaction (irreconcilability of the obstacle and the quest for the internal striving to overcome it). Traffic is related to the fact that there are such epochs in human history in which there is no leeway (pessimistic epochs). Tragism is related to the pessimistic philosophy of the world. From the late 19th and early 20th century. the majority of the philosophers are picnic (Spengler, Nietzsche). After the first and second world wars, pessimism became massive, because the belief in human reason and abilities was baffled. Pessimism is part of existentialism. Kafka is the pinnacle of pessimism, then pessimism conquers the theater. Besides pessimism, there is also optimism as an idea and a theology. Death makes sense. What matters is not whether they are being sacrificed, but do they make sense. The devastated destruction is tragic, not the destruction itself, the same is with existence.

Comic-nature and means

First Theory - A Negative Property Theory - Comic is what is a negative phenomenon. The subjective marker is the theory of superiority (theory of Hobbes). We are delighted to have overcome it. A second theory - the theory of degradation - a very important person turns out to be low. We expect something significant, but it is not. There is something contradictory, something is presented. There is some contradiction. We have several reasons to assume it's comical. At the base of the utensils there is some desire. Beauty is inherent in things. The comic belongs to the objects. Others say comic is a subjective attitude. In the subjective country, we laugh. It is understood that laughter is important, healthy. Laughter is a big weapon in the fight against flaws. He can help, he can help people overcome the pain, the shortcomings. Comedian can be defined as a defeat of the real in the conflict with the ideal (behind the laughter stood the ideal). Laughter is aching, exalting. Aristotle explains: laughing. The comic is often mixed up with funny. Fun is what's in life. hegel claims that the comic is objective to the phenomena outside us. The comic is the funny thing that can harm society. We sometimes laugh but not because we experience joy or laughter. There is a laugh that is the expression of some irritant. Laughter is loaded not only psychologically but also ideologically. Laughter culture is one of the greatest achievements of mankind. the comedy arises in ancient Greece, during Carnival Dionysias. A comedy's symbol is a fable. The comic mask has a long existence. They are cobblestone and made in antiquity. the first to raise the comedy is Aristophanes. Aristotle respects the comedy, but does not honor the mime. Laughter is a mistake and ugliness, painless and unpopular - Aristotle. The comic is something that can be repaired, no need to interfere with the law, it is not dangerous. In the Middle Ages they throw away the comedy, but the funny continues to live. The comic and ridiculous time of the Renaissance is realized. Dante writes: "Divine Comedy," but it is not funny and comical, after it many writers show comedies that have nothing funny, they become a tradition. The metaphorical cliche is perceived: "life is a theater, life is a comedy". We are the authors and performers of the comedy. In Shakespeare, the comedy acquires a variety of forms. Shakespeare mixes ridiculously funny, funny with a tragic, with everything. Laughter becomes an element of all genres. the Renaissance funny is very varied, it becomes quite expensive in some cases (Decameron). The Renaissance has its own idealistic principle. Worthy of laughter are dullness, lust, that is, the Renaissance laughs at will, the center of laughter is an essential individuality. An intuitive theater is being set up. it's free. Each landscape of Moliere embodies a prophet. We have no mixing. Mollier idealizes when he deals with a prophet, he does it, deepens himself in it. Modern comedy is usually not a pure comedy, it is a tragic comedy. Uses the means of irony and grotesque. we have comparisons of opposites, the claim is broken. Comedy has a character character. The laugh is very serious because it is charged with criticism. Laughter strikes, especially the rulers. He is a weapon in a revolutionary situation. what seemed serious, but his time was over and it turned out funny (Don Quixote). Voltaire's laughter was more than Rousseau's laugh. laughter can contemplate. It is part of the culture of society. How accurate a sign of civilization and culture can we tolerate humor. Insight is a different visibility of humor, a gift. This is the one who creates, creates humor.

A sense of humor is a measure of intelligence. One must have a great deal of humor to bear the criticism of mockery. There is no craving for the comedy. Of all crafts, the laugh of a comic was the hardest. The most dangerous craft is satirical. Fun is the broadest aesthetic category, it has the largest register. there are too many degrees. Starting from the most merry, joyous innocent joke and reaching the satire that is murderous. All this is the perimeter of the comic. It is very moving, there are many expressions, faces. funny has a very rich terminology. It starts from the body - a human body, flaws, excesses in the body. To laugh we treat what we hide - wickedness, disparate human flaws. The source of laughter is the costume, as the man affects the costume. Understand the costume for a person, it becomes a matter of deviating from the combination. The mix in the suit is also important. The fun is manifested in character, there is such a comedy, it is called a "comedy of character". This character is manifested in clothes, speech and manners. Comedy of Circumstances - Unexpected incredible things happen. A multifaceted source of comedy is language, it is filled with attractions. To make it look funny, it is overwhelming.