Fashion as a form of self-affectation of the subject: the access code to personal identity in the postclassical project of the subject's philosophy

The article raises the question about the possibility of thematization of fashion in the horizon of contemporary philosophy of mind and philosophy of the subject. The author discusses the prospects for the interpretation of the fashion consciousness as a kind of "unhappy consciousness" in Hegel's edition, in the interpretation of A. Kojeve as a representative author of philosophical criticism and also on the example of the school of structural psychoanalysis. The subject of the discussion is the powerful expansion of fashion as a public phenomenon into the intimate (emotional) sphere - de facto, into the sphere of subjective experience: fashion has discovered itself as an independent form of self-affectation promoting formation, understanding and self-understanding of the historical subject. Putting the question of literariness and historicity as strategies for self-presentation and, at the same time, self-description of the character of fashionable history, the author starts from the general scheme for representing the methods of subjective mechanisms. Philosophical optics, which initiated the "knowledge of oneself' and, thus, demonstrates the approaches to the theme of the production of subjectivity, was identified in the philosophy of the twentieth century. Here, almost simultaneously - in the metaphysics and the social theory, which predetermine the philosophy of the subject of the modern pattern, - the theme of the subject receives a distinct intersubjective reversal, and the strategies for self-interpretation first involve the figure of the Other. The subject of psychoanalytic and poststructural analysis is only partly an integral subject. In fact, this тош^Люп is historical and represents a product of consistent assembly in the form of historical determinations. It has been shown that the total theoretical fashion reception indicates that the neurotic "attitude of recognition" constitutes a fashionable subject in such a way that his own temporality is constrained by an endless rotation in the circle of external circumstances and irritants. The "imaginary", with which we deal here, is driven by an ambivalent fantasy: a) the rarity to change infinitely and b) the suspension of any changes until then to suit the achieved coincidence with the model.

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