6 4 The Aesthetics of the English Enlightenment

In the 18th century, the Enlightenment became a pan-European phenomenon. It developed on the basis of philosophical rationalism with its inherent democratism, because every human face looks interesting as opposed to the elitism of previous forms of aesthetic experience Respect for a person leads to a focus on exploring ways and means to develop and improve his spiritual world The possibilities for the establishment of rational social relations are diminished from the level of moral and aesthetic development of the members of society One and leading to the aesthetics of the Enlightenment, the idea of ​​aesthetic education and the value of art in the spiritual development of the personality arises. In this connection, the main problems of aesthetics focus on the study of the nature of aesthetic feelings, features of aesthetic perception of art on the issues of aesthetic taste and the role of art in the moral perfection of man. aesthetics of England, France, Germaniummechchini.

The peculiarity of the 18th century English aesthetics lies in its orientation towards the real human personality, which makes it possible to apply the principles of sensationalism and empiricism in its cognitive processes. Its other feature, anti-Ipuritanism, is the negation of primitive asceticism of puritans and, finally, the desire to direct art to the moral correction of a person. relationship of morality and art Nabu em leading in the aesthetics of England mentioned sutoi.

Famous representatives of the English Enlightenment were Lord Anthony Shaftesbury (1671-1713), Francis Hutcheson (1694-1747), Bernard Mandeville (1670-1733), Joseph Addison (1672-1719), David Hume (1711-1776), Adam Smith ( 1723-1790), Edmund Byrne (1729-1797), Henry Home (1696-1782), William Hogarth (1694-1764.

The forerunners of enlightenment ideas in England were Francis Bacon (1561 - 1626) and Thomas Gobbs (1588-1679) - the founders of the English materialism of New Time F. Bacon began to fight the English Puritan Tanami, defending the value of art in the intellectual development of the individual, since the imagination inherent in art, refers to the three intellectual abilities of man (along with memory and reason) Ut erdzhuyuchy value of poetry, the philosopher claims that she presents the mind, gives pleasure to the feeling of the sublime In the sketch \ "O beauties \ "contained in the treatise \" Experiments and Instructions \ ", determines new approaches to understanding the beautiful Search for perfect beauty or due to the creation of an image using geometric proportions, then through the selection of the best features from many figures, there are trends that occurred in the Renaissance , F. Bacon considers inexpedient as the Condition of Beauty, he considers \ "unusual in proportions \". Therefore, even the bad and the ugly can take place in art, since the separate and the whole are not identical. tion of images, and the beauty of the real world an important aspect in the reasoning of philosophy is the idea of ​​the value of artistic imagination and art, is considered as a kind of knowledge Art F Bacon said \ "tool \", which serves as a good chelovekzhaє "іnstrumentom", scho sluguє good Lyudin.

The works of T Hobbes contain reasoning on the problems of the beautiful and the ugly, artistic fantasy. The concept of the beautiful, as well as its opposite, the ugly philosopher, restrains the sense of self-preservation of a person as a subject of violations as a subject. The philosopher aspires to give a natural-science explanation of artistic activity.

The beginning of the development of a number of important ideas of the English aesthetics of the Enlightenment was laid by John Locke (1632-1704). Although the philosopher was not specifically concerned with the theory of aesthetics, the theoretical-cognitive position was important for science. First, in his opinion, there are no innate ideas knowledge takes place in experience and on the basis of experience. Secondly, the human mind from the very beginning is a "clean board". Third, there is nothing in the mind that previously would not exist in feelings. Based on these provisions, J. Locke considers the categories of es YETİK, the concept of \ "flavor \", \ "art \", and others. However, in accordance with the spirit of the Puritan ethic, he does not consider it necessary for art education of the person neobhіdnim for vihovannya osobistostі.

A prominent representative of the English Enlightenment - A Shaftesbury - the author of the dialogs \ "Characteristics of people, habits, thoughts and times \" (1711) The treatise discusses issues of ethics and aesthetics, in particular, the mutual understanding of ok categories of good and beauty, moral and beautiful Beauty appears to the basic concepts of aesthetics But Shaftesbury, the Author argues the idea of ​​all the permeability of beauty and moral beginnings, considers the beauty of spirit, character, feelings, that is, everything that constitutes the inner world of man. On the other hand, it is about the beauty of the visible ra - beauty of forms, proportions Beauty appears to be the result of creativity, therefore it explores its discoveries in various forms of artistic formation, beauty is the truth of beauty judgments, which is a manifestation of beauty of mind and the ability to experience. In Aesthetics A, Shaftesbury considers a moral and aesthetic feeling in a harmonious way. interrelationships and mutual influence. The philosopher considers moral sense inherent in man from birth, independent of religious faith or social conditions. Virtue asserts as a source of supreme bliss, the supreme spiritual naslazhdeniyischoї duhovnoї Nasoloda.

The basis of the harmony of the human world is the general harmony of the cosmos, the embodiment of higher beauty arises. In Cosmetice A Shaftesbury, individual manifestations of the imperfection of a beautifully arranged world only set off the countries of the common whole (fully in the spirit of theodicy Leibniz) the spiritual state of a person experiencing a rise from the awareness of the beauty of the world, and Sheftsbury using the concept of \ "enthusiasm \" Labor is built in the form of dialogues that are similar in nature and problematics to the dialogues of Plato \ "Fileb \" and \ "Feast \" Understanding beauty and the ability to re living its manifestations And Shaftesbury considers the vocabulary of ect and feelings as a result of conscious efforts. the ability to sense the world of expressive vitality in terms of the complexity of cognition of the essence of Avdiy the beautiful philosopher brings science and art together. Aesthetic taste is considered the result of cognition, reflection on the manifestations of beauty and its essence \ "How difficult it is to become knowledgeable to a certain extent," says Sheftsbury and - How true taste has been produced for a long time! is defined as \ "strong love and admiration \" Stressing the importance of knowing the objective properties of things and phenomena for understanding the essence of beauty, And Shaftesbury unfolds understood aesthetic taste \ "in and true truth \" and discovers what his limited understanding is. A man, not looking for beauty itself, but only what he imagines as beautiful, only slides over the surface of things without comprehending their essence - the deepest beauty content reveals the subjectivism of tastes In the context of the present, such ideas of particular relevance to beauty, won vyavlyaє sub'єktivіzm smakіv. At the context of the same year, this is especially relevant.

The theory of beauty is deeply developed in the versatility of its forms, a number of questions about its sources and essence are violated. The philosopher argues that the source of beauty is human rationality, which is the creator of форм forms of Nature, because it is not capable of changing itself, according to the idea of ​​beauty, is considered below i.e. the first step in understanding the sources of beauty The second kind (step) of beauty is "forms", forms in which, therefore, there is rationality, action and creation "Here beauty is twofold, because there is a form - a work of the mind - and the mind itself (creative skills). The third level of beauty is the creation of not only simple forms, but also "form-building forms", i.e. the creation of the idea of ​​beauty is, the philosopher reveals the natural in mastering the beauty of the world. The process has three stages: first, the sensual perception of the beauty of natural forms; Friends and - the embodiment of the image of beauty in the artistic formation, the third - the formation of the idea of ​​beauty thanks to the knowledge gained about the laws of its vitality in nature and art in nature.

A man is a creator of beautiful forms, because he has an idea of ​​forms and is able to embody ideas in the material of nature. The philosopher stresses that all human abilities: feelings, intentions, principles, views - everything that they have more color and noble - is a result of perception, mind, knowledge and will [11, p. 128]. The philosopher’s abilities are called human, according to the principle of cosmodice, concludes from a single source, which is the highest personal power, a certain cosmic mind that controls mitom.

Based on the evidence of the influence of beauty on the feelings and mind of a person, the connection between the beautiful and moral is affirmed, because "beauty creates high good, giving pure and natural sweetness." Aesthetics A Shaftesbury is directed against puritan austerity and moralism. His ideas became the basis for the formation of aesthetics ideas. F. Hutcheson, And Smith, In Hogarth in England, D Diderot in France, and Herder, F. Schiller in H imechin Schiller in Nimechchin.

F. Hutcheson - a student and follower of A. Shaftesbury - in the treatises, united under the common name \ "Study on the origin of our ideas about beauty and virtue \" (1725), considers the concept of beauty, order, harmony, expediency (the first treatise) and the concept of good and evil (second treatise) of the Central arises the problem of the relationship of moral and aesthetic concepts. Aesthetic abilities enjoyed the correct forms, proportions, orderliness and expediency characteristic of natural forms and expediently on the one hand, with the sensual nature of man, and on the other, with the reasonably thorough nature of its activities. Asserting \ "the whole universality is a feeling of beauty \", the author differentiates the level of non-indifferent response to phenomena. you are different forms of reality The ability to enjoy any forms or ideas that are the objects of our perception, F. Hutcheson, joining the opinion of J. Locke, calls feelings Quality Op In the Object of perception, personifying the beauty of order, harmony, he proposes to consider the sphere, comprehends "inner feelings", and the ability to enjoy contemplating emotions, actions or characters of thinking personalities that are called virtuous, is a moral feeling, feelings in F. Hutcheson's aesthetics acquire a complex multi-level structure. Ascending point of aesthetic analysis, he chooses the inner sense of the nature of feelings, then the philosopher views them as not defined \ ", i.e. do not remove them from upbringing, education, etc. Important in the interpretation of the essence of feelings is the statement of F. Hutcheson of their disinterested nature in the sense of lack of practical interest in the subject, and the response of feelings to establish itself as valuable (Subsequently, the idea of ​​"uncapacitated" feelings will be deployed in the work of Kant and Critic judgment abilities \ "" pochuttіv bude rozgornut in pratsі І. Kant "Criticism zdatnostі sudzhennya").

F. Hutcheson considers the universal nature of the sense of beauty, the basis of which is the presence of objective signs of beauty (ontology of beauty). The philosopher achieves thought, absolute beauty is connected with the regular organization of systems, their orderliness, degree, compliance with the law of unity of diversity and monotony. that he acts both in thinking and in the artistic formation, and in the natural world. Consequently, the objectivity of beauty is based on the objectivity of the properties of objects are the unity of the natural connections between them and within them (proportion, harmony, unity in diversity, and others.).

The researcher didn’t overlook the question of the subjective in aesthetic perception and appraisal of phenomena as beautiful or ugly. Applying the concept of "attitude", F. Hutcheson considers the difficulty of reproducing and evaluating non-indifferent items, since it is influenced not only by the quality of the object, but also by The subject’s consciousness about the sense of beauty, which may become decisive in TP actates, also defines the question of the sources of beauty, appears as a “presumption of design,” which means that the world is both natural and social. The best is perfectly arranged.

The ability to perceive and experience beauty is called feeling, valuable, according to F. Hutcheson, in that it surprises and excites us first by the “idea of ​​beauty” [23, p. 59] That is, here the important thing is not knowing the proportions, ha Armon, measures like such, and the wholeness of the impression of the object that determined our indifference to the rational vitality that is expedient in itself. This thought is of particular value for aesthetic theory, since it opens up a qualitative sense of aesthetic feeling: the integrity of comprehending the essence of the object of indifference The ability - a consequence the developed intellectual structures perceiver and qualitative determination unindifference object - its expressive vitality causes to actively engages with relatively aesthetic sense characteristics, it is, according to F Hutcheson is disinterested, interested, etc. intuitively harakteuїtivny character..

Of great importance in the study of the problems of aesthetic feelings, aesthetic tastes, essences of the beautiful were the works of D Hume: \ "About human nature \", \ "About the norm of taste \", \ "About the tragedy \", \ "About the refinement of taste and affect \" , \ "On the improvement in the arts \", \ "Skeptic \" and others. His position is characterized by philosophical skepticism and agnosticism. The main problem is in the center of research interests, - D'Hume seeks to find the laws of beauty, people’s principles appraisals of phenomena as beautiful or birth Based on the study of the mechanisms of sensory perception of phenomena and judgments Favorites regarding them, the philosopher comes to the conclusion that unity in this process of imagination, associative connections and thinking His position on the foundations of aesthetic experience is: beauty exists only in the mind of the subject of perception "Beautiful is not a quality that exists in the things themselves, it exists solely in the spirit that contemplates them, and the spirit of each person sees a different beauty. One can see the ugly even in what others feels fine and everyone is obliged to adhere to his feeling, not imposing it on others \ "[24, 724-725] Obviously, this is about individualization of the experience of perception and understanding of the world by the subject of an indifferent attitude. It loses the criteria of objectivity of the qualities of the subject Although the philosopher It does not deny that out of a thousand different judgments about an object, just and right m will be one. The thing is to establish it. And vice versa, out of a thousand different feelings caused by the same object, everyone will be correct, since none reflect that in fact is the subject of In the second method as D Hume divides aesthetic ontology and aksiologinaspravdі Je subject. In this way, D. Yum Rozmezhovu has a natural ontology and axiology.

The philosopher does not insist on the complete relativity of beauty. He recognizes the existence of \ "universal and universal beauty \" [24, p. 727] Let's say beautiful works of art, designed to awaken pleasant human feelings, act in such a way that they retain power over the human spirit as long as there is World D Hume demarcated the tastes of \ "spiritual and physical, 11 and feelings, respectively, of \" internal and spiritual 11 He considered them arbitrary, and such that are due to certain qualities that exist in the objects They are adapted to arouse these special feelings. The philosopher considers it appropriate to find common criteria for the objectivity of judgments about the aesthetic qualities of objects, calling it the "general rules regarding beauty that can be inferred from established patterns and observations of properties that u like or they don’t like \ "[24, p 730] Accuracy, sharpness of perception of the beautiful and the ugly serve as a basis for asserting the perfection of our spiritual taste,” the philosopher asserts that the truth of the judgments of the beautiful and the adequacy of his experiences is the ability of comparison, impartiality, sharpness of mind, arises from the qualities of the subject matter of judgment, D Hume concludes that the "principles of taste are universal and almost, if not completely, identical in all people" The reason why , однако, немногие способен вынести суждение о предмете или утверждать свое чувство как норму прекрасного, - в несовершенства органов \"внутренних впечатлений\" Они или испорченные, или работают неполноценно Вопреки обнаруженной сложности установления единых принципов стетического вкуса, Д Юм все-таки склонен считать что \"основные принципы вкуса однообразно присущие человеческой природе В тех случаях, когда суждение людей разные, это обычно объясняют некоторым недостатком или отклонением в способностях, вытекающих из забоб онов, при недостаточности опыта или с недостаточно утонченного вкуса \"[24, с 740] На этом основании вполне справедливым будет признать вкус одного хорошим, а другого - плохим есть, проблема истинности ест этических суждений вкуса не в предметах суждений, а в способностях субъектеиннос і естетичних суджень смаку не в предметах суджень, а в здібностях суб'єктів.

Важные теоретические проблемы эстетики изложены в труде Е Берка \"Философские исследования о происхождении наших идей возвышенного и прекрасного\" (1757) Природные способности человека, связанные с восприятием внешних объектов, философ разделяет на чувства, воображение и способность суждения Б Берк находит определенные общие закономерности восприятия, обусловленные физиологией органов чувств (зрения, слуха), а соответ дно, и закономерности эстетических восприятий Воображение помогает свободно комбинировать эти восприятия Способность суждения способствует образованию сложных чувств: горя, радости, гнева, страдания и под Философ определяется есть объективные основы суждений вкуса, ведь основания их положены не в субъекте восприятия, а в вещах, приятных по природе или не приятных человеческим чувствам Основное внимание в работе уделяется понятием пр екрасного и возвышенного, связываются с фундаментальными стремлениями человека: самосохранением (основа возвышенного) и общественность (основа прекрасного) Возвышенным считается то, что вызывает два о противоположных чувства: страх и удовольствие Все, что возбуждает чувства, рождая страх и волнение, является источником возвышенного Понятие красоты связывается с определенными формальными характеристиками предметов (размер, цвет), хотя внимание уделено и духовным (моральным) аспектам красоты В трактате нарушаются также проблемы влияния искусства на духовный мир личности, в частности на нравственные чувства Идеи эстетики Б Бе РКА о различиях прекрасного и возвышенного и особенности последнего повлияли на эстетику И Канта Правда, эстетике Е Берка присущ определенный отход ко физиологизма в характеристике чувства преподнесет ного и прекрасног піднесеного та прекрасного.