Прекрасное как «спасение безнадежного». Гегель и Адорно

Abstract

Does modern philosophy of art reject the principles and methods of mastering the reality of classical aesthetics, in particular, the category of the beautiful, em­phasizing, on the contrary, the ugly, ugly, terrible, disgusting? The authors strive to find answers in the dialogue of great philosophical masters – “Zeus the Olympian of the German classics” by Hegel and the preacher of “progressive negation” on the border of modernity and postmodernism Theodor Adorno. Hegel insists on the transcendental origin of the beautiful as the coincidence of idea and reality, the sensory phenomenon of the absolute, the resolution of con­tradictions between the subjective and the objective, the universal and the indi­vidual, the finite and the infinite. Adorno opposes, claiming the rights of “beauti­ful negativity”. He abandons the transcendental character of beauty and shifts the emphasis to the social sphere. The ugly, the ugly, the ugly should not be hidden. But to portray him in such a way as to arouse disgust towards him, the desire to create a project of “righteous life” But the development of the dialogue reveals that both thinkers ultimately agree on the main thing: the beautiful is inescapable and remains the defining category of both aesthetics and life.