Міф як основа формування антропологічних вимірів творчої діяльності
Myth as a Basis of anthropological measurements creativity

Summary/Abstract: The paper approaches the definition of myth as a basis of formation of anthropological measurements of creativity. The author examines the myth that has its focus. Myth encourages people to realize their potentials and capabilities. The author defines that creative activity is shown in the improvisations that we see in the ceremonies. These ceremonies are formed in the process of collective practice of mythological world. Creativity is expedient activity of the person on creation new and transformation existing, and also genetic, inherit the person requirement of art representation of the surrounding reality. Creativity as the form of self-expression is a fundamental category of development of the person. Each historical period shows its understanding of creativity and a role of the artist in creative process. Creativity becomes an appropriate indicator which can be defined as the relation of the person to surrounding world was in the concrete historical period. The understanding of the person-artist was also changed with changes in understanding of creativity. Myth is a form of culture. Many researchers have studied myth in the works. Myths exist in each culture. Myth is the life, the way of human existence. Many researchers have also paid much attention to the study of the phenomenon of creativity. Creativity is element that defines the inner essence of human activity. The first signs of creative activity we are seeing in a myth. Myth is an important social force. The myth is a fact. Myth describes a person as a sensual person. Myth is the attitude to the world. Antinomy of consciousnesses and entity are synthesised in creativity. To create, it is necessary to spend consciousness in the whole or its some parts, but to stay in the field of consciousness for creativity insufficiently, it is necessary that this consciousness to pass in entity and to be reflected in it. The absolute mythology is creationism or theory of the creativity. From the beginning of Antiquity by times of the Renaissance the myth is a basis of formation of anthropological measurements of creative activity. Creativity is collective activity in primitiveness and Antiquity because of creative activity was actualized by a prevailing method in a context of collective actions that are rituals and ceremonies. The person takes partnership in collective actions but he does not understand itself as the individual creator in any case. The myth is life, the brightest and the most reality which is far from fiction and imagination. Affective root is at the basis of a myth. It always is an expression of corresponding human needs and aspirations. The myth first of all was realised in the most ceremonial actions which a certain rank recreated mythical events and images, by means of carrying over of these actions and images in a reality. It is shown that creative activity in formation communities patrimonial mainly finds the embodiment in ceremonial events, in the form of improvisations which are concrete sensitive under the embodiment form. But these improvisations do not leave for between the sign samples which value has been turned out by collective practice. It allows characterising initial person as a sensitive corporality which perceives the world exclusively sensually, thanks to corresponding mythical intuition. With development of slave-owning in the ritual-game formula of creative activity there are corresponding elements of a reflexion in the form of author's attempts to separate some certain attributive characteristics of creativity. Divine creativity occupies the higher position because it creates supreme values, human activity depends from divine. Any activity is inheritance of divine creativity, not by the way of constructive activity, but by contemplation of its essence. Creative activity is the moment of transitivity of a divine emanation in the certain material form. Creativity is not only divine quality, but also the form of display of natural property of a matter, because Space – is creativity. Sensual-material space starts to be understood as making out its own corporal forces. Creativity is the form of display of natural property of things. Natural property of things as display creative activity, is displayed in because, the slave in a slaveholding formation is not the person, but is a live thing (a physical body) which was self-mobile though the slaveholder directed this self-movement. On the basis of certain forms, i.e. functional characteristics which display features of outlook which is inherent for the given time are defined as functional distribution activity on the creative and not creative depended from ideal and material signs of human existence, and in compliance with it characterised the person as a material and space corporality. On the basis of examining of concept which considered that can be engaged in creativity only freely born persons, (i.e. creativity is the extracted property which gives physical, and to intellectual forces freely born person’s ability to the intellectual entertainments, which necessary for participation in public life). All these forms characterise creativity as a collective activity, and from the beginning of Antiquity by times of the Renaissance the myth is a basis of formation of anthropological measurements of creative activity.

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