Klasikinės Vakarų metafizinės estetikos ir meno filosofijos transformacijos: neklasikinių principų sklaida

LTStudija skirta klasikinės Vakarų metafizinės estetikos pamatinių principų pokyčiams neklasikinėje, modernistinėje ir postmodernistinėje estetikoje aptarti. Joje tyrinėjamas sudėtingas sociokultūrinių, idėjinių problemų kompleksas, turėjęs poveikį akademinės estetikos ir meno filosofijos nuostatų irimui, išryškinamas naujų „neklasikinių", radikaliai konfrontuojančių su epoijue moderne ideologija, mąstymo ir kūrybos principų įsigalėjimas. Gvildenamos tos estetinės ir meno teorijos, kurios tiesiogiai siejosi su socialiai aktualių meno raidos procesų recepcija ir kartais buvo traktuojamos kaip sudedamoji sąlyginai savarankiškos meno filosofijos problematikos dalis. Analizuojant postklasikinės estetinės minties transformacijas, išsamiausiai nagrinėjamas analitinių, struktūralistinių ir poststruktūralistinių idėjų, kontrkultūros poveikis postmodernistinės estetikos ir meno filosofijos transformacijoms, aptariamas meno kūrinio auros praradimas. [Iš straipsnio, p. 12]Reikšminiai žodžiai: Aura; Estetiškumas; Grožis; Klasikinė estetika; Meno filosofija; Neklasikinė estetika; Pokyčiai; Postmodernistinė estetika; Aesthetic quality; Aura; Beauty; Changes; Classical aesthetics; Non-classical aesthetics; Philosophy of art; Postmodernist aesthetics.

ENThe author analyzes the development of Western aesthetics during the last centuries and distinguishes three representative tendencies: classical, non-classical and postmodernist. They arose at different historical times and circumstances and each possesses the specific whole of traits which allows characterizing it as more or less conceptually complete system of aesthetic ideas. These systems are directly related to their contemporary artistic practices and represent various stages of the development of aesthetic thinking and peculiar types of the understanding of the world. In this study the intricate complex of sociological, cultural and spiritual problems, which exerted influence upon the destruction of metaphysical and academic aesthetic regulations, are discussed; the consolidation of "non-classical" principles of thinking and artistic production radically contradistinct to epoque moderne ideology are exposed. In the analysis of post-classical aesthetic thinking transformations the main attention is focused on the development of non-classical ideas in Western aesthetics during the last tree decades; the influence of the counterculture upon the postmodern transformations of aesthetics and the loss of aura by pieces of art are discussed. It is evident that during the last decades many dogmatic regulations of classical metaphysical aesthetics were discredited; the plurality of ideas and methodological regulations became firmly established; many new fields of aesthetic studies were opened and original strategies of these studies were invented; the problems, which were unknown to the Classical Western aesthetics, were formulated; new attitudes to the traditional problems and concepts of aesthetic discourse were established.The criticism and renunciation of Eurocentristic universal attitudes, the refusal to recognize the special importance of the rational thinking principles characteristic to the Classical Western aesthetics are underlined as the most important peculiarities and merits of postmodern aesthetics. To the universals, which dominate the classic aesthetics, the postmodern aesthetics opposes unique aesthetic ideas concerning art, marginality, differences of traditions and ruptures within them, non-linear process of aesthetic thinking and its crises. To the idea of the global unity of culture it opposes the significance and uniqueness of local experience. The adherents of postmodern aesthetics treat pluralism as unquestionable aesthetic value. Therefore the stylistic variety and keen attention to "non-classical'' principles of aesthetic thinking and artistic production which were found and established by non-European cultures are characteristic to the postmodern aesthetics. Therefore it constantly opens new fields of aesthetic studies and artistic creativity, focuses attention on those fields which previously were marginal. It makes considerable advance in multiplication of aesthetic forms, decentralizes aesthetic ideals, appropriates "foreign" traditions, liberates itself from various theoretic conventions and aesthetic stereotypes and demolishes multifarious artificial boundaries between the different kinds of science and art. [From the publication]

• Filosofija / Philosophy
• Menotyra / Arts