Postmodernaus mąstymo poveikis dabartinės estetikos metodologijai

LTPastaraisiais dešimtmečiais, kai tyrinėjimo strategijos ir metodai Vakarų humanistikoje (kultūrologija, estetika, meno filosofija, dailėtyra, literatūrologija) išgyvena esminės transformacijos ir anksčiau neregėtos ekspansijos į įvairias kasdienybės sritis tarpsnį, itin aktualu įdėmiau pažvelgti į šiuos reiškinius. Mūsų dėmesio centre esančios estetinės, literatūrologinės ir menotyrinės plačiąja šio žodžio prasme disciplinos yra palyginti neseniai susiformavusios mokslinio pažinimo sritys, kurių tyrinėjimo strategijos ir metodai keitėsi šimtmečių tėkmėje. [Iš straipsnio, p. 9]

ENThis study is dedicated to the discussion concerning the changes in the field of aesthetic inquiry which manifest itself during the last decades in the postmodern aesthetics methodology. It concentrates on the metamorphoses in the subject of aesthetic inquiry and the changes in the problematic of postmodernist aesthetics methodology. All these changes initiate the manifest expansion of aesthetic theories and penetration of daily life culture by aesthetic phenomena. Such penetration was significant to non-European aesthetic traditions but of no importance to the Classical Western aesthetics. The limits of the contemporary aesthetic science were considerably expanded and deprived of distinct determinations; the attitude to the subject of that science and to the field of its main problems was changed. The aesthetic inquiry penetrates the new territories previously treated as unaesthetic and includes them into the field of the significantly expanded field of aesthetic objects, the subjects of contemporary aesthetics’ investigation. The rise of these new problematic fields is directly related to the rapid development of communication means in the culture of super-civilization, to the modification of aesthetic experience, to the disappearance of boundaries between different spheres of life.As the most characteristic traits of the contemporary aesthetic thinking are the intensification of the circulation of aesthetic ideas between different cultural worlds and the migration of various artistic symbols and aesthetic concepts to the spheres previously regarded as unaesthetic. The new post modern aesthetic experience surpasses the limits of aesthetics, established by the traditional Western metaphysics, enriching the content of aesthetic inquiry by the traditions of different cultures and their junctions, expanding its territory within the limits between the harmony of the Universe and the aesthetic topology of body. These changes were caused by the rise of the problematic fields which previously were situated on the margins of academic studies. It looked like the multitude rivulets suddenly ran out of the integral, purified torrent of classical academic aesthetics each of them claiming the uniqueness of the subject of its aesthetic experience. The monolithic classical academic aesthetics were transformed and split into many local “aesthetics” and art philosophies which interacts with various, previously regarded as unaesthetic, spheres of culture, social and daily life: the aesthetics of atmosphere, landscape, forest, park, water; body, thing, city, daily life, technical design, detail, medicine, sport, advertisement, fashion, feminism, media, multimedia and many other local aesthetics which show the mobility, dynamism, manifoldness, fragmentariness and constant expansion of territories of aesthetics. [From the publication]