THE RENAISSANCE DIALOGUE ABOUT LITERARY CREATIVITY: AESTHETIC AND PHILOSOPHICAL DIMENSIONS OF REVEALING AN ARTIST’S MISSION

The article reconstructs the dialogical theocentrism – anthropocentrism configuration, formed as the frame of a person’s self-definition on the trajectory of the Renaissance Humanist reflection of the literary creative manifestations of authorship and initiative for the renewal of the traditional concepts of poiesis, reinterpreted by Studia Humanitatis as the artistic way to manifest dialogism on the base of correlating mimesis, stated by traditionalism as the principle of poetical creativity, with demiurgy, comprehended in this status by the Renaissance. The study reveals that such a connection of an author’s mimetic potential and an artist’s demiurgic resource lays the foundations for a person’s self-fulfillment as the culture demiurge, responsible for the human dignity and able to form the artistic reality using all the creative patterns, denoted by the Renaissance thought, including the elaboration of an individual style, the individualization of a genre and the manifestation of the subjective voluntarism in the sphere of literary creativity at the backgrounds of comprehending the poet’s power to create the object of poesy. The research defines the modes of the Renaissance dialogization of both Horacio’s imitation and Aristotle’s mimesis as the milestones of elaborating the poiesis mimetic models, inspiring a person’s attainment of similitude with God by representing His creation in the artistic creative activity. The investigation connects the comprehension of the demiurgic source of literature with the Mannerism-Neoplatonism dialogue, substantiating the mimesis framework, based on the author’s invention of the art archiforms, imitating Creator’s Eidoi, but detached from the natural logic, revealed in the life.The exploration discovers the Mannerist artistic meta-logic as the ultimate aestheticization of the Renaissance dialogic.