Monroe Beardsley''''s On the Status of Aesthetics Object in Art Criticism

Subject Areas : Philosophy

Mahdieh Alsadat Sajadian ¹ , Maryam Bakhtiarian ²

1 - PhD Student of Philosophy of Art, Faculty of Law, Theology & Political Sciences, Tehran Branch of Science & Research, Islamic Azad University, Tehran, Iran
2 - Assistant Professor of Philosophy, Department of Law, Theology and Political Science, Tehran Science and Research Branch, Islamic Azad University, Tehran, Iran

Received: 2021-09-24 Accepted : 2021-09-24 Published : 2021-08-23

Keywords: Beardsley, aesthetic object, Aesthetic Experience, Aesthetic value, Formalism,

Abstract :

In modern times, with the avant-garde movement, recognizing the aesthetics object from a non- aesthetics object is difficult or impossible. Beardsley is one of the formalist philosophers who seeks to define the aesthetic object in order to make a difference between art and non-art. He first of all distinguishes aesthetic object from other aspects, such as paying attention to the artist''s intention or the author''s intention and audience’s perception, that the aspects are considered to be false inputs in the functionalist pattern and disrupt the aesthetic experience. According to this theory, the function of art is the make of aesthetic experience, which is characterized by features such as unity, complex and intensity. These features are followed by artistic value, the value that is the subject of the recognition of an artistic object, and the critic must be know it to use them in the evaluation of artwork that is content-centered. Because the aesthetic experience in art is its value and the only necessary condition for the work of art and is formed on the basis of a positive verdict, the purpose of this study is to identify the aesthetic object from the Beardsley view which can be defined by art. Our methodology, in terms of the nature of the research, is to collect materials through a library study and Internet search, then we examine and analyze them in order to obtain Beardsley’s definition of the aesthetic object and its status in art criticism