8 5 Aesthetics of the 20th century: general patterns

In the aesthetics of the 20th century, there are stored research directions that were defined as the main ones in the 19th century: philosophical, psychological, sociological, art history. It is reasonable to begin analyzing the trends in the development of aesthetic theory in the 20th century with German aesthetics. She maintained close ties with the philosophy of O Baumgarten Contrary to the fact that aesthetics, as well as other branches of humanitarian knowledge, for a long time (30-50s of the 20th century) could develop mainly outside the country, it is peculiar to wealth. about trends, trends and ideas that influenced European aesthetics and spiritual pursuits in the field of artistic practice. In the first half, art criticism was widespread. It was presented by German and Austrian schools. In the works of well-known representatives of it M. Dessuar, G Wolfflin, W Vorringer, M Dvorak , E Panofsky, Zedlmayr developed the problems of the philosophy of the history of art. In the XX, the problem of the theoretical status of the subject and the method of aesthetic science was acquired [18, kn 3, part 2, 11]. the identity of the study of the sphere of aesthetic attitude of a person to the world and artistic activity, which determined the distinction between the study of art and the study of beauty and th perception, that is, the distinction between aesthetic and aesthetic-art criticism ( general art criticism ) perspective His work Aesthetics ( 1906) built on such a principle, since the first part of it contains historical-aesthetic and philosophical-aesthetic problems, and the second - aesthetic and art history. Similar ideas are traced in studies Explorers M. Dessuar: the books of P Aman Aesthetics (1911) E Utitsa Fundamentals of General Art History (in two volumes: t 1 - 1914; t 2 1920) The connection between aesthetics and artistic practice is explored in Worringer's work "Abstraction and is heard" (1909), which significantly influenced the development of theory and artistic practice of expressionism. Aesthetic problems of art, artistic creation, the purpose of art in society received an interesting solution. the works of the artists of Germany of the XX century - T Mann ( Doctor Faustus - 1947) and G Hesse ( Playing Beads - 1943_mechchini XX Art. - T. Mann ("Doctor Faustus" - 1947) і G Hesse ("Gra y berser" - 1943).

The second direction, in which German aesthetics was actively developed, was the psychological Traditions of the psychological approach to the analysis of aesthetic problems, laid research by A Zeising, G. Fechner and others, continued in the XX in the works of R. Müller-Freienfels and E. Meiman. - the desire to combine the processes of perception and creativity through the integration of experimental and introspective methods of their research. Ideas of psychological aesthetics and P Müller-Freienfels in the works The Psychology of Art (1912), Poetics (1920), Mental Mind and Fantasy (1916) and others. The general idea of ​​the works is the analysis of artistic phenomena with the rationale psychology of perception Not less important in his research is the combination, based on differential methods of the communicative chain: the creative process - a work of art - aesthetic perception The scientist considers the artist’s world, which seeks to convey his own experiences to others, as the basis for the integrity of the chain. m as a result of their embodiment in the artistic phenomena of the phenomenon of art in artistic phenomena.

The two-volume work of E Meiman Aesthetics (1913) contains a criticism of a purely psychological interpretation of aesthetic problems (ideas of Fechner, Volkelt, Lipps). The scientist emphasizes that the study of problems of aesthetics has to combine four forms of its manifestation: the process of creativity, work as a whole, aesthetic pleasure and evaluation of works. Methods designed to ensure this integrity are purely psychological and experimental: a survey, an experiment, etc. The named approach did not correspond to the integrity of the approach to aesthetic-artistic phenomena. In this sense, the method of representatives of the structural approach of M. Hartmann, G. Zedlmayr, and Elena, who adhered to the ideas of Gestalt psychologist and most similar psychology, was much more effective.

A special approach within the framework of the psychological direction is psychoanalysis of Freud 3 and his followers. To Freud Labor 3, directly related to the issues of artistic creativity and aesthetic perception, lies "Wit and its relation to the unconscious" (1905), "Leonardo da Vinci Sketch" with psychosexuality (1910), The Poet and His Fantasy (1911), Dostoevsky and Patricide (1926) and others. The basic concept in psychoanalysis is libido , - free, mentally directed ?? energy tends to be realized ( it ) blocked by consciousness ( I , or censor - super-I ), sexual energy sublimated (elevated) is repressed, that is, Freud's ideas become socially and culturally perceived forms continued in the works of O Ranka and G Saks. A special branch of psychoanalysis creates analytical psychology To Yungzhennya in the days of O. Ranque and G. Saks. Especially goshku psychoanalysis alignment analytic psychology C. Jung.

In the aesthetics of Germany of the 20s of the 20th century, thanks to the writings of M. Geiger and E. Kassirer, the aesthetic-philosophical direction is emerging. Its general tendency is to focus on ideas of the philosophical phenomenon of enology (Husserl) and existentialism (Heidegger). The works of E. Kassirer had an important role in the development of philosophical aesthetics. The Philosophy of Symbolic Forms (1923-1929) and Sketch of a Man (1944) Teaching by I and Kant regarding a priori forms of rational knowledge E. Cassirer extends to all types of spiritual activity. Symbolic forms he considers universal methods of discovery immanently inherent in man and from the structure of reality. Such symbolic experiences also include art, a carrier of symbolic content, embodied in sensual-figurative forms. During the establishment of the fascist dictatorship in Germany, E. Kassirer emigrated to CELA, which had a positive effect on the formation of philosophical aesthetics in this country philosophical aesthetics in Central Asia.

Under the influence of the phenomenological method of E. Husserl M. Hartmann's aesthetic position. In his work Aesthetics (1953 - published posthumously) the philosopher identified three forms of the spirit: personal, objective and objectified Artwork - a consequence of the objectification of the creative spirit. His nature two-layer : a real plan (physically existing work of art) and superreal (deep) is a spiritual plan, existence as possible is possible through the medium of real. Detection of surreal depends on the subject of perception ( deep) plan, and the dominant is the understanding of the essence and purpose of art as a subjective ability of the artist to self-expression The ability of the perceiving subject to discover the beautiful work - evidence of the ability of deep perception is the glory zdatnostі glibinnogo yogogo spryimannya.

A special branch in the study of problems of aesthetics is information aesthetics , based not on philosophy, but on a complex of modern specific sciences: semiotics, information theory, non-classical logic, then communication theory, etc. Of the numerous works of the founder of the M benz direction, Aesthetics (4 t; 1954-1960) The aesthetic author examines the functional and o-semiotic approach on the basis of the theory of morality. Therefore, the first part of Aesthetics reduces the aesthetic to the symbolic process, the second to inf the application of the aesthetic aspect, the third to the communication. The analysis material for the author is avant-garde art of the 20th. In the liking of the researcher to avant-garde, this art is the basis of the semiotic-informational aesthetics, because, unlike the classical weaver and classical aesthetics, modern art and aesthetics are the transition from the world of signs, which signify reality, to the world of signs, is a reality [18, book С, ч 2, с 48] The scientific value of names in the direction of development that, as the researchers point out, shocking action terminologiiauvazhuyut doslіdniki, the "shokuyuchіy dії" termіnologії.

The sociological trend in German aesthetics of the 20th century was founded in Hauenstein, and its distinguished representatives are G. Simmel, V. Sombart, M. Weber. Of particular importance in the sociological interpretation of problems and art are representatives of the Frankfurt School of Markuze and T. Adorno. culture contained criticism claiming (affirmative) art, which creates an illusory world of supposedly feasible social ideals and solved life conflicts. The object of criticism of the philosopher is about the society of free competition and art serves to affirm its ideals. In opposition to apologetics, he puts forward the idea of ​​negative, radical criticism as a spiritual position of real art towards the reality of mysticism.

T Adorno, the author about ZO books on philosophy, sociology, the theory of aesthetics, aesthetic views of which were formed under the influence of G. Marcuse, in the work Aesthetics opposes ideological art neideolo ochichne Adorno-aesthetics defends the idea of ​​complete autonomy of art as an aesthetic reality. According to the idea of ​​"negative dialectics", the principle of the relation of art to reality is a kind of "critical theory of its" society. In this connection, it denies the value of the mimetic art of "External logicality" The philosopher considers it irrelevant, because the absurdity of the work- is also part of the condemnation of that empirical rationality: after all, rationality of public life became a self-sufficient goal and therefore turned into an irrational and erroneous, with the means, the goal entered [1, 165] Denial of "rational in art the scientist supports the aesthetic orientations of modernism. The artistic practice of pop art, responding to the ideas of T. Adorno, actively asserts the anti-aesthetic: anti-aesthetic is added to artistic phenomena objectivity: trash, paper, trash, etc. Undoubtedly, T. Adorno spoke against such interpretations of his critical theory, dissolving left-wing extremist motor movements against such critical theoretical theory, having rooted it in rue.

The artistic practice of modernism, acquiring a sense of the dominant tendency in the art of the beginning of the 20th century, obtains a theoretical substantiation in the aesthetics of the same direction. Initial ideas of its aesthetics associated with the claims of the creative process as self-valued, regardless of the consequences of the artist’s shaping efforts. In Spanish aesthetics, the famous theorist of modernism was X Ortega -i-Gasset The theory of aesthetic subjectivism, he will beat out, on the basis of borrowing from many sources, in particular, this idea of ​​the German philosopher Orringer, who were the basis for the formulation of Ortega’s theory of abstract artistic freedom ( The art of this world in the other world , 1911) Based on an appeal to the ideas of Husserlianism, he tries to combine the phenomenological analysis of the object (universal) and the individual in his statements, the phenomenologism at the same time collapses the shaft of the substantive content of the creative act of the creative act.

The main work of the philosopher, became the manifesto of avant-gardism, - Dehumanization of art (1925). It contains the extreme opposition of classical and treble art. The features of the latter are the artist’s alienation from the subject of the image in order to avoid experiencing and eliminating the subject of the image as such, limiting freedom of the artist Aesthetic joy for a new artist from this triumph over the human one, t m, you need to specify the victory and in each case show the victim choked [29, p. 242], writes X Ortega Philo Sof emphasizes that the new art is fundamentally focused on the dehumanization on the basis of the concept of dehumanization.

However, his approving position on dehumanizing art is ambiguous. Separate opinions are heard about the future of art, dehumanizes a person and denies a previous artistic legacy: "to attack the art of the past means to rebel against Art itself: after all, what is art without both to science and to the state - to the whole culture as a whole [29, p 256uot; [29, p. 256].

Ideas of philosophy In Worringer, in particular his work Abstraction and is heard , influenced the formation of the aesthetic concept of the Russian artist In Kandinsky In his treatise On the spiritual in art (1912) and others. Inspired by the idea to create an objectless painting, freeing the picture from the plot, burdens the viewer with the language of new painting, he sees the expressiveness of color and form as such, apart from any connection with the city, except content of the very color: yellow - earthly , blue - heavenly etc. According to the author, these associations arise in the subject of perception with necessity, purposefully arousing the human soul. He builds on the mentioned principle of associativity, identifying the language of painting and its perception with the laws of creating and perceiving the musical image. Aesthetic position of Kandinsky was borrowed by the aesthetics of abstractionism and implemented as a purely aesthetic Formalist understanding of the meaning of artistic activity in the wickedness of this formalistic sense of artistic sense.

In France, as in the already considered Spain and Germany, the aesthetics of modernism is only one of the directions of research attention. Here the struggle with subjectivity in aesthetics is controversially connected with the denial of the social purpose of art and its aesthetic essence of the subjectivist tendency in French aesthetics of the early 20th century. in Bergson’s philosophy A with its contradictory attitude to science, on the one hand, the enormous importance of science in life is recognized in view of its practical utility, on the other hand, its use is denied singularity to understand the essence of phenomena Formulating the relationship between instinct and intelligence, And Bergson remarks: There are things that only the intellect is able to look for, but which he himself will never find Only instinct could find them, but he will never look for them [5, p 16 8] Intellect is viewed in its relation to the things of the material world as a force capable of collecting it and laying it out. However, the ability of the intellect to comprehend the unpredictable is denied, and therefore, says A. Bergson, the intellect" denies creativity "[5, p. one 81] Tracing the relationship of intellect and intuition, the philosopher shows the inability of the intellect to reproduce life as integrity concerns instinct, in its optimally possible manifestation it could appear as intuition, that is, an instinct that would have no practical interest, would be conscious of itself able to speculate about his object and infinitely expand it, such an instinct would lead us into the very depths of life. "[5, p. 196] In the correlation of intelligence and intuition, the first is considered only an impulse to unroll uitsii Aesthetic ability is seen higher than intuition, unrelated to the world of practice However, Levchuk notes, "it would be a mistake to assume that the aesthetic sphere for Bergson is just one more foothold in his aesthetic wanderings ah. The fact is that Bergson's human ability to aesthetic perception and experience of the surrounding reality is only a consequence of the existence and active action of such a form of cognition as intuitive [17 p 32] The subjectivism of philosophy A. Bergson actively influenced the aesthetics of modern Reproduction of the philosophy of A. Bergson by actively engaging in the aesthetics of modernism.

Authoritative among the creative intelligentsia were the aesthetic ideas of the representative of neo-Thomism J. Maritain, expressed in the works Bergsonivska philosophy (1913), Art and scholasticism (1920), antimoda Ern (1922), Responsibility artist (1961) and others. In his controversy with A. Bergson and B. Croce J. Mariten returns to the ideas of F. Aquinas' aesthetics, in particular considering the role of conscious impulses in creativity the need to connect a sense of beauty to a form adapted for the best perception thanks to proportionality and unity Iimannya zavdyaki proportions and that conditions.

In the 50s of the 20th century, such philosophical directions as existentialism, personalism, and phenomenology influenced aesthetics. In aesthetic theory, the main place was taken by the problems of the aesthetic consciousness of the personality, its role in social life (Camus, Sartre, Dufrenn)