aesthetics, also spelled esthetics, the philosophical study of beauty and taste. It is closely related to the philosophy of art, which is concerned with the nature of art and the concepts in terms of which individual works of art are interpreted and evaluated.
To provide more than a general definition of the subject matter of aesthetics is immensely difficult. Indeed, it could be said that self-definition has been the major task of modern aesthetics. We are acquainted with an interesting and puzzling realm of experience: the realm of the beautiful, the ugly, the sublime, and the elegant; of taste, criticism, and fine art; and of contemplation, sensuous enjoyment, and charm. In all these phenomena we believe that similar principles are operative and that similar interests are engaged. If we are mistaken in this impression, we will have to dismiss such ideas as beauty and taste as having only peripheral philosophical interest. Alternatively, if our impression is correct and philosophy corroborates it, we will have discovered the basis for a philosophical aesthetics.
This article seeks to clarify the nature of modern aesthetics and to delineate its underlying principles and concerns. Although the article focuses on Western aesthetic thought and its development, it surveys some of the seminal features of Marxist and Eastern aesthetics.
The nature and scope of aesthetics
Aesthetics is broader in scope than the philosophy of art, which comprises one of its branches. It deals not only with the nature and value of the arts but also with those responses to natural objects that find expression in the language of the beautiful and the ugly. A problem is encountered at the outset, however, for terms such as beautiful and ugly seem too vague in their application and too subjective in their meaning to divide the world successfully into those things that do, and those that do not, exemplify them. Almost anything might be seen as beautiful by someone or from some point of view, and different people apply the word to quite disparate objects for reasons that often seem to have little or nothing in common. It may be that there is some single underlying belief that motivates all of their judgments. It may also be, however, that the term beautiful has no sense except as the expression of an attitude, which is in turn attached by different people to quite different states of affairs.
Moreover, in spite of the emphasis laid by philosophers on the terms beautiful and ugly, it is far from evident that they are the most important or the most useful either in the discussion and criticism of art or in the description of that which appeals to us in nature. To convey what is significant in a poem, we might describe it as ironic, moving, expressive, balanced, and harmonious. Likewise, in characterizing a favourite stretch of countryside, we may prefer to describe it as peaceful, soft, atmospheric, harsh, and evocative, rather than beautiful. The least that should be said is that beautiful belongs to a class of terms from which it has been chosen as much for convenience’ sake as for any sense that it captures what is distinctive of the class.
At the same time, there seems to be no clear way of delimiting the class in question—not at least in advance of theory. Aesthetics must therefore cast its net more widely than the study either of beauty or of other aesthetic concepts if it is to discover the principles whereby it is to be defined. We are at once returned, therefore, to the vexing question of our subject matter: What should a philosopher study in order to understand such ideas as beauty and taste?Three approaches to aesthetics
Three broad approaches have been proposed in answer to that question, each intuitively reasonable:
1. The study of the aesthetic concepts, or, more specifically, the analysis of the “language of criticism,” in which particular judgments are singled out and their logic and justification displayed. In his famous treatise On the Sublime and Beautiful (1757), Edmund Burke attempted to draw a distinction between two aesthetic concepts and, by studying the qualities that they denoted, to analyze the separate human attitudes that are directed toward them. Burke’s distinction between the sublime and the beautiful was extremely influential, reflecting as it did the prevailing style of contemporary criticism. In more recent times, philosophers have tended to concentrate on the concepts of modern literary theory—namely, those such as representation, expression, form, style, and sentimentality. The study invariably has a dual purpose: to show how (if at all) these descriptions might be justified and to show what is distinctive in the human experiences that are expressed in them.
2. A philosophical study of certain states of mind—responses, attitudes, emotions—that are held to be involved in aesthetic experience. Thus, in the seminal work of modern aesthetics Kritik der Urteilskraft (1790; The Critique of Judgment), Immanuel Kant located the distinctive features of the aesthetic in the faculty of “judgment,” whereby we take up a certain stance toward objects, separating them from our scientific interests and our practical concerns. The key to the aesthetic realm lies therefore in a certain “disinterested” attitude, which we may assume toward any object and which can be expressed in many contrasting ways.
More recently, philosophers—distrustful of Kant’s theory of the faculties—have tried to express the notions of an “aesthetic attitude” and “aesthetic experience” in other ways, relying upon developments in philosophical psychology that owe much to Georg Wilhelm Friedrich Hegel, the phenomenologists, and Ludwig Wittgenstein (more precisely, the Wittgenstein of the Philosophical Investigations ). In considering these theories (some of which are discussed below), a crucial distinction must be borne in mind: that between philosophy of mind and empirical psychology. Philosophy is not a science, because it does not investigate the causes of phenomena. It is an a priori or conceptual investigation, the underlying concern of which is to identify rather than to explain. In effect, the aim of the philosopher is to give the broadest possible description of the things themselves, so as to show how we must understand them and how we ought to value them. The two most prominent current philosophical methods—phenomenology and conceptual analysis—tend to regard this aim as distinct from, and (at least in part) prior to, the aim of science. For how can we begin to explain what we have yet to identify? While there have been empirical studies of aesthetic experience (exercises in the psychology of beauty), these form no part of aesthetics as considered in this article. Indeed, the remarkable paucity of their conclusions may reasonably be attributed to their attempt to provide a theory of phenomena that have yet to be properly defined.
3. The philosophical study of the aesthetic object. This approach reflects the view that the problems of aesthetics exist primarily because the world contains a special class of objects toward which we react selectively and which we describe in aesthetic terms. The usual class singled out as prime aesthetic objects is that comprising works of art. All other aesthetic objects (landscapes, faces, objets trouvés, and the like) tend to be included in this class only because, and to the extent that, they can be seen as art (or so it is claimed).
If we adopt such an approach, then there ceases to be a real distinction between aesthetics and the philosophy of art; and aesthetic concepts and aesthetic experience deserve their names through being, respectively, the concepts required in understanding works of art and the experience provoked by confronting them. Thus Hegel, perhaps the major philosophical influence on modern aesthetics, considered the main task of aesthetics to reside in the study of the various forms of art and of the spiritual content peculiar to each. Much of recent aesthetics has been similarly focused on artistic problems, and it could be said that it is now orthodox to consider aesthetics entirely through the study of art.
The third approach to aesthetics does not require this concentration upon art. Even someone who considered art to be no more than one manifestation of aesthetic value—perhaps even a comparatively insignificant manifestation—may believe that the first concern of aesthetics is to study the objects of aesthetic experience and to find in them the true distinguishing features of the aesthetic realm. Unless we restrict the domain of aesthetic objects, however, it becomes extremely difficult to maintain that they have anything significant in common beyond the fact of inspiring a similar interest. This means that we should be compelled to adopt the second approach to aesthetics after all. And there seems no more plausible way of restricting the domain of aesthetic objects than through the concept of art.
The three approaches may lead to incompatible results. Alternatively, they may be in harmony. Once again, it can only be at the end point of our philosophy that we shall be able to decide. Initially, it must be assumed that the three approaches may differ substantially, or merely in emphasis, and thus that each question in aesthetics has a tripartite form.
The aesthetic object
The third approach to aesthetics begins with a class of aesthetic objects and attempts thereafter to show the significance of that class to those who selectively respond to it. The term aesthetic object, however, is ambiguous, and, depending on its interpretation, may suggest two separate programs of philosophical aesthetics. The expression may denote either the “intentional” or the “material” object of aesthetic experience. This distinction, a legacy of the Scholastic philosophers of the Middle Ages, has played a major role in recent phenomenology. It may be briefly characterized as follows: When people respond to object O, their response depends upon a conception of O that may, in fact, be erroneous. O is then the material object of their response, while their conception defines the intentional object. (The term intentional comes from the Latin intendere, “to aim.”) To cite an example: A person is frightened by a white cloth flapping in a darkened hall, taking it for a ghost. Here, the material object of the fear is the cloth, while the intentional object is a ghost. A philosophical discussion of fear may be presented as a discussion of things feared, but, if so, the phrase denotes the class of intentional objects of fear and not the (infinitely varied and infinitely disordered) class of material objects. In an important sense, the intentional object is part of a state of mind, whereas the material object always has independent (and objective) existence. If the expression aesthetic object is, therefore, taken in its intentional construction, the study of the aesthetic object becomes the study not of an independently existing class of things but of the aesthetic experience itself. It is in this sense that the term occurs in the writings of phenomenologists (e.g., Mikel Dufrenne, La Phénoménologie de l’expérience esthétique [1953; The Phenomenology of Aesthetic Experience], and Roman Ingarden, Das literarische Kunstwerk [1931; The Literary Work of Art]) whose studies of the aesthetic object exemplify not the third but the second of the approaches considered above.