11 aesthetic knowledge of the CATEGORY of AESTHETIC RELATIONSHIP 11 1 Specificity of categorical knowledge in aesthetics

Categories of aesthetics - general concepts of aesthetic theory, reflecting the laws of mastering the world according to the laws of beauty, fixing its intrinsic value in art. Categories fix features of the aesthetic attitude to reality, aesthetic qualities of reality, patterns of expedient creatively formative human activity. Thus, the category is a synthesis of spiritual experience media in and fixed in historically developed concepts: beautiful, sublime, tragic, comic They concretize and deepen the content of the metacategory "aesthetically and aesthetically."

Aesthetic theory also identifies other types of categorical knowledge. These are considered earlier categories of aesthetic consciousness, reflecting patterns of experiencing a person's relationship to reality in the forms of aesthetic evaluation, judgment of taste, aesthetic ideal and aesthetic theory. In another type of categorical knowledge - in the categories of artistic and creative activity - are fixed laws of spirituality and ability of a faculty (their analysis will be the subject of further course topics) And yet there are broad categories of aesthetic Relations: beautiful, sublime, tragic, comic, they are also defined as categories of aesthetic knowledge (aesthetic epistemology), comprehending the whole range of aesthetic experience in the dialectic of objective and subjective, particular and universal, sensual and logical types of spiritual experience. Other types of categorical knowledge appear more specific.

Categories of the aesthetic relationship reinforce the natural in the historical experience of formation, perception, experience and understanding of the sensually given wealth of reality as the source of vitality of the human spirit. They reflect free interaction with the subject of non-indifference, where the latter acts as a goal and at the same time as a means. true being.

Note that the concept of \ "category \" combines two values ​​in aesthetic. First, the real qualities of phenomena in their givenness by feeling, secondly, their consciousness is given in the form of judgment regarding these qualities, categories reinforce two aspects of value expressions of reality: objective expressiveness of sensually given qualities and the ability of the subject to put these qualities into ideal forms (creating an image of the subject of experience I and his assessment) The unity of the two layers of the content of aesthetic experience means that It is the meaning of the concept (that is, the objectivity of the content), provided that it is not accidental judgment, but is based on the conformity (adequacy) to the qualities of the subject matter of judgment. The aesthetic judgment reflects the dialectical connection of the subject's value representations and the feature of universality of human experience in relation to the subject of non-indifference .

The aesthetic quality of the estimated-reliving experience is determined by the correspondence of the judgment to the expressive, expedient in itself vitality of the object, i.e. that inner expediency is given by feeling, being the subject of a volume of disinterested admiration. The latter induces the subject's spiritual structures to self-organize: a generalization and theoretical analysis of the most essential signs of the phenomenon, namely those without which it loses its visa. The reason for qualitative certainty of feelings that subject, there is a reflection on their own feelings about the qualities of the object.

We note that the spiritual structures of the personality are organized by expressive manifestations of reality, acquiring their own certainty in interaction with them: aesthetic quality attitude In categories the aesthetic we are fixed wera human attitude to the world The idea of ​​beauty is its foundation, which is characterized by sensual personification of "spiritual models aesthetic practice, aesthetic development of the world "[9, p. 68]. So, the categories of aesthetics are a concept that reinforce the experience of aesthetic ezhivaniya items indifference and judgments of their quality in the dialectic of the universal and individual nepovtornogno-reentrant.

The categories of aesthetics are meaningfully defined value systems, as they reflect the experience of spiritual and spiritual-practical interactions of mankind with the world in the process of history, as knowledge of the quality and properties of reality expands and the ability of a formative attitude expands, the experience of aesthetic experience of rational forms in life expands and deepens. their inexhaustibility. At the same time, a certain stability is retained in relation to the phenomena; in the experience of perception, expressiveness has been determined yu their otnak.

categorical knowledge reinforces not only the experience of the aesthetic attitude of historical epochs, national and regional cultures, but also the experience of each person, which reflects what is natural in attitudes and objects according to the value expressions of their vitality, is the very form of experience objectification experiencing attitude to the world that is not alienated from the subject of experience is art It is the history of creating experience of adequate interactions with phenomena that open up to their qualities and are consolidated in the form of the free deployment of an ideal life. awn in artistic and imaginative way of being solely responsible for the language means xy Therefore art is the most important source of aesthetic experience otnosheniyannya.

Categories are universal concepts that reinforce evaluative-experiencing and value-reflexive judgments about the world as the truth of human spiritual experience. In it, feelings and judgments about phenomena coincide, organizing the qualities of an object of indifference This is the basis and condition of objectivity, and hence the source of aesthetic value of experience there are categories that reinforce the essential certainty of the qualities of the world into ideas, to the integral vitality of its forms. The individualization of their sensual wealth in images is a valuable source of the life of the human spirit. ershenstvovanny culture first-hand experience is able to realize themselves in the estimated p erezhivayuchih and image-forming phenomena, claiming the value of the spiritual world of the subject in his nepovtorimostinostі.

The categories reflect the layering of the content of spiritual experience, while its origins (both in relation to a people and an individual) are connected with the mental experience of relations. According to Freud, he consolidated everything in the deeper layers of the psyche in the form of constancy of response. However, only a conscious attitude to phenomena and the awareness of the causes of experiencing the attitude towards them is aesthetic. As such, it has a creative character.

Being in manifestations as harmonious, elevated or low, the object in conformity testifies itself as worthy of admiration, respect or condemnation and neglect. An adequate response to its quality forms an aesthetic from the experience of an individual, social groups, etc. Value relation individualizes the relationship of a person with the world. It turns out that a person is tuned to the harmony of relationships, finds them in things and phenomena, and asserts as a law in his own activities, relationships, etc. Conversely, a person who is inclined to destruction is inclined to see the negative even in a positive, defending his own life position. A person who scoffs at a high, worthy of respect shows that not only she is not capable of a worthy act, but is also not able to understand the motives driving other people, and comprehend the meaning of their actions Harak terizuyuchy such a type of people, Hegel notes: \ "That gloating pleasure that the life of historical figures can not be called happy - this pleasure can be found in the history of those who it is in need of it And those in need are not people who are annoyed by the big, outstanding, who seek to humiliate him and put his weaknesses on display \ "[5, t 8, p 30] Because the notion of \" beautiful \ ", \" sublime \ ", \" tragic \ ", \" not \ ", \" ugly \ ", \" low \ "reflect the experience of creating a natural in relation to the world of specific historical eras, peoples, individuals, finally humanity, they arm us with the criteria of aesthetic judgments about the reality, the sinfulness of the people, the stench ozbryyuyut us with the criteria of natural sudjen about d ysnіst.

Dialectic development of individual experience is related to the level of the universal (natural) based on mastering the wealth of culture in the experience and understanding of its subject. This is also the winter depth and individual uniqueness of the human personality. Renowned psychologist S. Rubinstein sees an ascent to the comprehension of the natural in relation as a process. has its own levels of sensory perception correlated with a particular subject, however, so that they entered the subject interaction, the image of the object (perceptual image) of the three main components is necessary: ​​sensual tissue, meaning (matching, what is fixed in language) and personal meaning [17, p. 243] Regarding the deployment process, it has the following steps. the form is the decisions of the subject from others, because it attracted attention and aroused the feeling. The next phase is the modeling of the ideal image based on the data of the experience of feelings, i.e. the creation of consistency, we are the data of feelings and intelligence The last phase - the judgment of the object or artistic modeling of its image as a provision of feeling, reason and the formative skill of real being in the uniqueness of form, Zuma imposes just such interactions Such uniqueness is characteristic of the artistic and figurative language of art the process is unique because it is due to the wealth of phenomena or states of already known and experienced phenomena, on the one hand, and the ability to sub KTA experiences unfold feelings about the subject, each time expanding and deepening their experience of logical analysis of qualities makes clear sense of the object of their state, contributes to the objectivity of judgments Our senses are subject to interaction with intelligence are able to distinguish many shades identifying qualities of the object and turn many nuances perezhivaniyaіv experience.

Thus, the aesthetic categories reflect and reinforce the wealth of experience in developing the relations of a subject (society, humanity, personality) with expressive qualities of reality and the process of forming an image of an object that is adequate to its vital value in itself. Spirit testifies of itself as real in the formative activity It acts as the formation of its own image. The natural character of the process is preserved, since the objects of indifference and the way to is fixed in the historical experience of the people. In the world of a particular subject, experience is individualized by a bag of nuances of reacting to an object, enriching human experience. The world of expressive forms experienced by a person, enshrined in formative activity, becomes a source of creating spiritual experience of others, promotes the exchange of spiritual worlds. how it makes our presence in being obligatory possible can be explained in detail using the example of the philosophical tale \ "Little Ave In \" but de Saint-Exupery (1900-1944erі (1900-1944).

categorical knowledge in the aesthetic has that specific feature that in it the intellectual and emotionally experiencing components harmoniously interact, mutually reinforcing the impression of the subject and revealing the fullness and expressiveness of its vitality. The fullness of the phenomena of the world is open to the subjects of indifference, is the main source of integrity and aesthetic expressiveness. of the world of human vitality Not less importantly, the value of an object of non-indifference in the form of assessments ary relation to him as beautiful or ugly, tragic or comic, or high nizkoggo.

We note that the phenomenon of the destruction of the integrity and aesthetic certainty of spiritual experience is dangerous for the loss of humanity in responding to the world. It carries destructive, destructive consequences: the spirit realizes itself as aggressive, anti-human.

The categories of aesthetic relation are not a rational concept, it is the system of their internal connections that reflect the dialectic unfolding of qualities in objects and the adequacy of the relation of the subject (humanity) to them. The initial link is the beautiful (sensual impersonation of the idea of ​​beauty). This category is basic, initial in aesthetic judgments. since it reflects the harmony of qualities in an object as \ "capable of being like without a concept \" (and Kant), and stipulate the harmonization of the spiritual structures of personality traits.

Going beyond the harmonious balance of qualities towards the accumulation of quantitative traits in an object peculiar to the sublime It creates grounds for expanding spiritual experience in the direction of declining and honoring objects that concentrate qualities in themselves that exceed the measure inherent in the wonderful phenomenon of concentration and identifying "quantitative traits" "in the subject of human vitality is the heroic nature of P littering relationships for creating a new aesthetic measure of morality leads conf The hero's ik with circumstances, during which he acquires the aesthetic quality of the tragic, the tragic as an aesthetics category embodies the spirit of the ovrist of the person’s connections with the social world in the form of creating a new quality of experience. Since the creative possibilities of the tragic personality in its relations with the world greatly exceed the measure of relationships that are actors for the beautiful, therefore they are realized in conflict. The latter creates a new spiritual space of relations and asserts their new dimension. In it, circumstances arise An important factor in the development of a new quality of self, and personality is the subject of activity. Therefore, the tragic is, according to Kant, the category reflecting the attitude. In Shakespeare's tragedy \ "King Lear \" the hero of the work is an exalted foe not only after dignity. as a sublime person, because the king seeks to find out for himself: they love his daughter for his status (the king) and the estate (the state) or because of his human virtues. He is accustomed to hypocrisy, he is not able to recognize a claim Revealing the revelation of love for the father of Cordelia's youngest daughter in a queue, perceiving the flattering words of two older daughters, he posed to both the crown and the state and was forced, as the last beggar, without shelter, to roam without hope of a better fate. Thus, Lear is a tragic figure not because turned out to be in adverse circumstances, and therefore sought to delve into the truth of the relationship and could not distinguish between them the truth and lie rozrіzniti in them the truth and nonsense.

The next in the dialectic series of categories is comic, reflecting the judgments of modality. In it, necessity and chance are characterized by mutual transitions resulting in the loss of qualitative signs of the aesthetic e in the categories of ugly and low.

Another type of categorical connections is built in the form of a dialectic series of opposites: the beautiful is ugly, the sublime is low, the tragic is comic. This type of connections reflects the possibilities of losing the aesthetic certainty of phenomena and their transition into their opposite: the beautiful into ugly, the sublime into low, tragic to the comic Classical art presents numerous examples of such transitions. At the same time, they do not have a single vectorial direction. A striking example of the transition from comic to tragic It is embodied in Hugo's novel "Notre-Dame de Paris" in the form of Quasimodo. A comic and even ugly, its appearance causes others to laugh, hides the depth of feelings, will and character. At the cost of his own life, he tries to save his beloved woman, engaging in a duel with an angry crowd, hungry for death Esmeraldasmert Esmeraldi.

Along with the main aesthetic categories, the researchers distinguish \ "to the auxiliary \" or \ "modifications \" of the main categories. These are: harmony, grace, heroic, catharsis, irony, grotesque, etc. [22, p 142] WIO also feeds in a categorical sense the concept is beautiful, magical, graceful, elegant [11, from 125th, elegantly [11, p. 125].

So, the categories of aesthetic attitudes are a system of concepts that reinforce the regular experience of the emotionally non-indifferent, creative attitude of mankind to the world.