THE PHENOMENOLOGY OF AESTHETIC EXPERIENCES (OF PERSONALITY) AND AMERICAN PHILOSOPHY OF ART: A COMPARATIVE ANALYSIS

Abstract

The article is devoted to the analysis of the aesthetic experiences of the individual in the context of the phenomenological-aesthetic methodology. Relying on the phenomenology of E. Husserl, the phenomenological aesthetics of M. Geiger, O. Becker, M. Dufrenne and A. Maldine and representatives of the American philosophy of art, such as: M. Beardsley and J. Dickie, the author emphasizes the key role of aesthetic perception (experience) in the formation of aesthetic experience (personality). Analyzing the intentional structure of consciousness as a structure of intentional experience, the basic elements of the phenomenological-aesthetic approach and the phenomenology of aesthetic experience to the problem of personality formation are highlighted. Emphasis is placed on the spiritual, cultural and psychological dimensions of the individual, which determines the referential relationships and their role in the development and cultural creation of the unique world of the creative individual in the works of continental phenomenologists and American philosophers of art. The author of the article emphasizes the importance of the phenomenological method as a productive methodology in the field of aesthetics: aesthetic experience, aesthetic experiences, and also highlights a special problematic field of phenomenology of aesthetics and the field of research in American philosophy of art. Secondly, modern phenomenology (A. Maldine, M. Dufresne) has largely lost certain contours of scientific methodology, which we received in the Husserlian tradition. Therefore, today it is difficult to understand what philosophical approach we are dealing with, whether it is the analysis of language, cultural studies, ethics, personality psychology or aesthetics. American philosophers of art are careful to use and talk little about the phenomenological project, but the "rigor" of phenomenology, as E. Husserl clearly wrote about, should be distinguished from methods of researching aesthetic (experience) in the eyes of American philosophers of art. For the first time, the article uses a comparative analysis of the views of representatives of the phenomenological movement and the American philosophy of art.