Repressive poetics in modern culture: genesis and representativeness

The topicality of the research of a modern phenomenon "poetic" (poeticsin a broad sense - as ƒƒίƒƒƒς, "poesis" - creativity, creation, activity) is caused by the difficult processes occurring in modern culture onthe threshold of the centuries. It is connected with the problem of definition of those phenomena of culture which are sometimesperceived as "original" poetics. The condition of modern culture represents the original dualistic picture: on the one hand, it is anattempt to keep those cultural traditions, which define the consciousness of the whole generations for more than one century, on theother hand, a steady tendency is observed of new socio-cultural bases search, allowing to be beyond the developed stereotypes, torethink and change ethical and cognitive models. The tendency of specification fixed in the modern world and expansions of traditionaldefinitions of senses are more and more distinctly shown in the idea of representation of a globalized society as spaces of all possibleideological masks hiding behind self senses, which are distinct from representatives. Repressive images in modern culture are the socialfact requiring a philosophical reflexion and the objective scientific analysis as well. More or less, these images are both the tool of vitalspace registration of the modern person, and the influence mechanism on its consciousness and behaviour. At the same time, repressivepoetic images form a picture of the daily world and public life acting as socio-cultural representatives. The mechanism of transfer of asubject or event ''from the external world into the internal one'' and, on the contrary, ''covering and enduring it from within'', is the majorprinciple of poetics, which can be designated as an expression (from Lat. ''expressio''), expressiveness; the force of display (images,feelings, experiences). As any poetic creativity is the language of images, the poetic sense (code) aspires to its ''impression'', to theexpression through the poetic image. That is why it is necessary to notice that any original poetic image is expressive (the sense isexpressed and opened by means of image). The repressive image in the context of our research is defined as an extra-rational,metaphorical way of reality reflexion, contrary to "expression" way characterized by properties of "non-openness" (isolation in itself),monologism, falsity. According to it, repressive poetics is understood as various phenomena in the culture, the essential feature of whichis a poeticized form with "non-poetic" content. Representativeness of repressive poetics finds itself in all the spheres of culture.Repressive poetics, being a reality part (realities of imperious system), is perceived by the person as ''especially indicative subject of thesystem of things'' (authorities) (M. Foucault), as any image intended for non-transitive reading. There is an identification of ideologicalmodel to the existing reality, and the poetics creates the sensation of direct communication. A city myth (English urban myth) is amodern version of a myth, a short true story based on modern technical and public reality, usually mentioning deep problems and fearsof the modern society. Plausibility of a city legend is based on the necessity of special knowledge for its analysis and check. Itsdifference from a joke is that the comic load (even if it is there) is not the main aim of a story, it differs from from rumour as it is notadhered to concrete persons and places and can happen anywhere. It is usually retold as a story which happened with any personconnected with the story-teller, a brother, a friend, a friend's friend, a distant relative, etc., thus the story-teller insists on their validitywhich one cannot prove. The event in the poetic form of a narrative is based on the same components. In other words, the subjects ofcity repressive myths are formed by the principles of either "pleasures" or "fear". And, there is no clear differentiation between the firstand the second ones, because people can get pleasure even with a small portion of poetic adrenaline. As well as the media discourse, acity myth characterizes universality which can be understood as availability. The event (plot) in the base of narrative is clear toeverybody, that is why the distribution of a city legend does not meet obstacles in the form of national or social borders. There is anability to deliver "pleasure" with pseudo-reliability of a poetic image, its interpretation, and the idea of the myth which cannot berejected as an illogical cognitive construction, because it is difficult to part with a poetic image as any beautiful legend or dream. As it isgenerally known the person often sees and hears things they wish to see and hear, almost any repressive image in the basis of a cityrepressive myth.

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