Estetinis suvokimas

LTKnygoje analizuojamos estetinio suvokimo (estetinio reagavimo, estetinio stebėjimo, estetines nuostatos) estetiškumo (estetinių savybių, estetinių vertybių) problemos, aptariamos jų aiškinimo teorinės kryptys bei tų krypau tarpusavio konfrontacijos, parodomos šių konfrontacijų suformuotos teorinės peripetijos dabartinėje estetikoje. Aiškinamas estetinio suvokimo (estetinio patyrimo) problemų ryšys su teorine meno samprata; specialus dėmesys skiriamas estetinės meno funkcijos bei estetinių meno teorijų (jų pagrindų) sampratai, išryškinama jų vieta neestetinių meno teorijų kontekste, aptariami šių teorijų ir vadinamųjų netradicinių meno teorijų (antiesendalistinių, institucinių) tarpusavio opoziciškumai. [Anotacija knygoje]Reikšminiai žodžiai: Filosofija; Estetika; Meno teorijos; Monografija; Menas; Menininkai; The Philosophy; The Aesthetics; Art theories; Monography; The Art; Artists.

ENThe objectives of The Aesthetic Perception are to reveal the peculiarity of the aesthetic perception; to highlight the theoretical content of the problem of the aesthetic perception as it is discussed in contemporary aesthetics; to show its logical relations with other aesthetic problems; to show its scope and place among other problems of contemporary aesthetics; and to argue which theoretical principles are necessary for the proper understanding of the peculiarity of the aesthetic perception. In the monograph the problem of the aesthetic perception is analyzed by showing irreconcilability and mutual criticisms of various theoretical positions. This shows the complexity of this problem and, at the same time, enables the author to ground his own view how to solve this problem. I. The Aesthetic Object and the Aesthetic Attitude The problem of the aesthetic perception is treated as an integral part of the problem of the aesthetic experience (the aesthetic consciousness). The solution of this problem is provided by explicating the peculiarity of the aesthetic experience and by showing that it is related with several other problems of the aesthetic experience, such as, the problems of the aesthetic contemplation, the aesthetic attitude, the aesthetic evaluation, the aesthetic judgment, etc. The dependence of various theories of the aesthetic perception on a certain notion of the aesthetic is analyzed as well. The author distinguishes theories of the aesthetic into two main groups. Objectivist theories claim that the aesthetic is a non-relational quality of objects themselves. Relationist theories claim that the aesthetic is a relational quality which object acquires because of its relation to perceiving subject.1. Objectivist theories. Theoretical basis of this group of theories is explained by analyzing M. Beardsley's theory. All other objectivist theories are surveyed in the context of Beardsley's theory. The author highlights their differences, which, nevertheless, rest on the unanimous objectivist claim. It is demonstrated that, contrary to some interpretations, which claim that it is some kind of relalionism, Beardsley's theory in its very nature is objectivist. The author explores both general objections to objectivist theories, as well as those arising from their application to specific problems. 2. Relationist theories. Theoretical basis of this group of theories is explained by analyzing J. Stolnitz's theory as well as certain aspects of other relationist theories. The author argues for theoretical correctness of the relationist conception of the aesthetic experience. 3. "Mixed" theories. Here are analyzed theories that try to find a middle ground in order to reconcile objectivism and relationism. They are treated as dualistic, incoherent, or eclectic. II. The Peculiarity of the Aesthetic Perception The author analyzes the problem whether the aesthetic perception (the aesthetic experience) is dependent or not on perceiver's practical and cognitive interests, surveys various positions and explicates their mutual exdusiveness and critidsms. 4. The cognitive status of the aesthetic perception. The author explicates the following logical connections: the objectivist conception of the aesthetic implies the cognitivist conception of the aesthetic experience (Beardsley), while the relationist conception of the aesthetic - the anti-cognitivist conception of the aesthetic experience (Stolnitz). The author argues for moderate anti-cognitivism.5. The autonomy of the aesthetic contemplation. The author discusses the relation between the aesthetic experience and the disinterest of contemplation, and analyzes various theoretical trends. He discusses both moderate (E. Bullough) and radical (C. Bell) theories, as well as others, which fall under one of these tendencies, i.e. theoretical radicalism or theoretical moderation. It is argued that the most acceptable explanation of the aesthetic experience is relative disinterest. 6. The problem of subjectivism. The author discusses the problem of real and supposed subjectivism. It is demonstrated that the charge of subjectivism is a common criticism that is usually leveled against those relationist theories, which do not accept any postulates of the objectivist theories. The author argues that such a charge is intellectually insincere. Since, according to those so-called subjectivist theories, the aesthetic is a relational quality, those theories are relationist. The author demonstrates that subjectivism is a special case of relationism (for instance, CJ. Ducasse is considered to be a subjectivist). The author accepts the concept of subjectivism, as Slolnitz understands it. III. The Aesthetic Function of Art The author discusses the claim that nature of art can be explained by its aesthetical function. 7. The concept of art: Opposing theories. The author discusses various trends of theories of art and explicates their differences. Significant amount of analysis is focused on the so-called non-traditional (anti-essentialist, institutional) theories of art; more in-depth analysis and criticism is devoted to G. Dickie's institutional theory of art. The discussion of the grounds of those theories provides the context that is critical for proper understanding of the current situation of the aesthetic theories of art. [From the publication]