Топологічна естетика традиціоналізму як джерело ренесансного оновлення романічної поетики

The article reveals the horizons of the reception of rhetorical architext defining the formation of the Renaissance poetics. The main trends of the aesthetic transformation of   principles of rhetoric in late-traditional poetical modes are analyzed in the light of their connection with the general creative and epistemological tendencies predetermining the dynamics of the literary process on the transition from traditionalism to historicism. The renovation of the rhetorical concept “genesis” determining the self-definition of the art of manner is treated as a way of the late-traditional rethinking of the poethological category “mimesis” resulted in the approval of the Renaissance variety of forms of poetry and prose. Thus manneristic expansion of the modal resource of rhetoric into the sphere of poetics impacted on establishing the literature as "a conscious poetic and rhetorical unity" (S. S. Averintsev) on the decline of traditionalism. The architexual interaction of rhetoric and poetics performed by mannerism differs from the intermingling of poetical and rhetorical criteria characteristic of the Renaissance classicism.   The art of manner focusing on the foundations of rhetoric was inspired by the humanistic development of the idea of imitation of the example formed by the poetical thinking of Antiquity. Having been involved in transforming imitative activity into the competition with the authors of exemplary creative works, mannerists realized the disposition of the cultural dialogue formed by the Renaissance artistic consciousness and perceived the coordination of Aristotle’s and Horatio’s models of literary creation revealing the aesthetic character of the late-traditional framing of dialogism. But in contradistinction to the experience of the classicists of this epoch, who changed the object of imitation from natura naturata to natura naturans in the process of the extension of the objective sphere of the literature moving aside genre thematic limits, set by the poetics of traditionalism, they preferred to transform the correlation of modality and topic in the genre-forming matrix founded by Horacio’s poetic theory advancing in such a way to the neoplatonic reinterpretation of Aristotle’s conception of poetry ensuring the substitution of mimesis by demiurgia in the subjective dimension of the literary creative activity. Embodied in the definition of the poet as an imitator-demiurge, manneristic renewal of rhetorical priority of modal genre source over its thematic origin led to the discovering of unlimited space of genre modifications in the course of the genesis of novel equalizing modality and topic in its genre structure. Correlating with neoplatonism, mannerism reveals itself as a style factor of the author's self-realization in the genre-forming process, laying the basis for changing the dichotomy of imitation/mimesis implying the comprehension of the world into the concept of demiurgia supposing its formation.