8 AESTHETICS XIX-XXI CT: DEVELOPMENT REGULARITIES 8 1 General patterns of aesthetics of the Newest time

The aesthetics of the XIX-XXI centuries are characterized by a huge wealth of tendencies, comprehend the diversity of artistic life and the diversity of approaches to understanding the place and role of art in society. Dominant is a tendency to lose the integrity of the spirit in its focus on the ideal, which is typical of classical aesthetics. as the activity of the formation of artistically perfect masterpieces of the last works, the latter determines the loss of the criterion of creativity and the goals of the creative process: the lost can To such a certainty of formative skills, which And Kant characterized not just as originality, but as artistically perfect originality [15, from 1169 - 1170 1170].

\ "Creative freedom \" - a concept that suffered in the culture of the newest time of profanation, because it was reduced to arbitrariness. The loss of aesthetic criteria of creativity led the withdrawal of art beyond the limits of activity, the highest purpose of which is the formation of culture, experiencing the relationship of man to the world, the expansion of spiritual ties with the world in the forms of perfection. The individualism of practice has led to the extreme subjectivity of TV, which is reflected in the theory of aesthetics in the idea of ​​the spontaneity of the artistic process; it is not determined at all The defining sign of the development of aesthetic theory is eclecticism of methodologies, although positivism is the dominant trend [18, Kn C, p 1, p 13] Positivism played a significant role in the theory of aesthetics, because research attention for a certain time was directed towards clarifying the nature of aesthetic ability, relying on the achievements of science in the study of the mechanisms of perception, imagination, memory, reason However, the dominance of the positivistic approach led to the loss of the aesthetic criterion of creativity and led to a break with the ideal aesthetics of artistic excellence as the goal of art yak methylene Mistetstvo.

Characteristic for the science of the period under review was the opposition of aesthetic and artistic experience, in particular due to the fact that in aesthetics of modernism, and especially in postmodernism, they too delimited X Artistry, there is a value certainty of spiritual phenomena, became secondary, and the understanding was concentrated on one aspect, it is absolutized. It is an excitement of sensuality as such, irrespective of aesthetically determined means (but precisely when they are sensual certainty appears to be a spiritual phenomenon) Therefore, it focuses on extreme - shocking - forms of its discovery: outside the artistic and non-moral Aesthetic has succeeded in the services of a market culture, stimulating the instincts of greed, aggressiveness, sexual instincts, etc. Researchers of modern culture characterize it precisely as a market culture with a corresponding activation of the mechanisms of influence on the "consumer". "From the point of view of aesthetics," notes T. Adorno, "nouveaute is the result of historical development, appropriated by the idea of ​​the consumer brand as a consumer which works of art are always distinguished by the same range, obeying the need to increase the cost of capital \ "[1, 36t capital ..." [1, p. 36].

Without pretending to be complete analysis, we consider the leading directions in the aesthetics of the mentioned period and typical approaches to understanding the aesthetic ideas. Despite the wide variety of directions, five prevalent and influential are legitimately distinguished. On the one hand, the aesthetics of classical realism (within and under its influence principles of aesthetics of critical realism, late romanticism and neo-romanticism, from socialist realism) On the other hand, these are numerous directions that reflect the growth of tendencies subjectivism in philosophy and aesthetics, say, the aesthetics of irrationalism, modernism and postmodernism, subjected to the noticeable influence of the aesthetics of irrationalism; aesthetics of positivism, philosophy of life, existentialism. The common features of these directions are mysticism, subjectivism, pessimism (features of Kierke Hora, Schopenhauer aesthetics, Nietzsche), formalism (Herbart aesthetics) The aesthetics of the Soviet period emerged as a special line in the development of science, used the classical tradition, in particular German classical philosophy by Sophia in the study of the problems of aesthetic and aesthetics of critical realism The leading aesthetics of postmodernism in modern science and artistic practice is the direction directly.