Vol 5, No 1, 2006 pp. 65-76
UDC 316.75:7
; 111.852
THE RANGE AND PERSPECTIVES
OF SOCIOLOGICAL AESTHETICS
Nikola Božilović
Faculty of Philosophy, Niš, Serbia
Ćirila i Metodija 2
bonicult@medianis.net
Today, aesthetics is much more opened to cooperation with other
sciences than before. That is why, in this work, the author does not
ask whether sociological aesthetics is possible, but how. Firstly, he
discovers the historical roots of this problem and points to the fact
that W. Hausenstein set the basis for the foundation of "sociological
aesthetics" in the 19th century. However, a more significant
relationship between aesthetic ideas and the prevailing view of the
world (the spirit of time, the vision of the world) was not established
until the first half of the following, 20th century. In that context
the author pays special attention to the ideological and contextual
aesthetics of T. Adorno, H. R. Jauss' aesthetics of reception and R.
Bastide's social conception of art, explicitly named as "sociological
aesthetics". The phenomenon of art is being treated here from a
scientific standpoint – a sociological one, affirming what is most
important in this domain, which is – the particularity of the
aesthetic. The author speaks in favour of the modern conception of
sociological aesthetics, which he identifies in contemporary creative
movements and tendencies, such as postmodernism and conceptual art,
happening, performance, video-art, graphic and industrial design.
Key words: aesthetics,
ideology, art, vision of the world, communication, taste,
reception.
DOMAŠAJ I PERSPEKTIVE SOCIOLOŠKE
ESTETIKE
Estetika danas, mnogo više nego ranije, otvorena je za saradnju sa
drugim naukama. Zato autor u ovome radu ne pita da li je, već kako je
mogućna sociološka estetika. On najpre otkriva istorijske korenove ovog
problema i ukazuje da je osnove za utemeljenje "sociološke estetike"
postavio V. Hauzenštajn u 19. veku. Značajnija veza između estetičkih
ideja i preovlađujućeg pogleda na svet (duha vremena, vizije sveta)
ipak je uspostavljena tek u prvoj polovini narednog, 20. veka. U tom
kontekstu autor se posebno osvrće na ideološku i sadržajnu estetiku T.
Adorna, estetiku recepcije H. R. Jausa i socijalnu koncepciju umetnosti
R. Bastida, imenovanu eksplicitno kao "sociološka estetika". Fenomen
umetnosti ovde se tretira sa jednog naučnog stanovišta – sociološkog,
afirmišući ono što je u ovom domenu najvažnije, a to je – osobenost
estetskog. Autor se zalaže za modernu koncepciju sociološke estetike,
koju on identifikuje u savremenim stvaralačkim pravcima i tendencijama,
kao što su postmodernizam i konceptualna umetnost, hepening,
performans, video-art, grafički i industrijski dizajn.
Ključne reči: estetika,
ideologija, umetnost, vizija sveta, komunikacija, ukus, recepcija.
