Document Type : Scientific-research
Authors
1 Corresponding Author, Ph.D. Candidate in Art Research, Faculty of Theoretical Sciences and Higher Art Studies, Iran University of Art.
2 . Assistant Professor of Philosophy of Art, Department of Philosophy of Art, Faculty of Theoretical Sciences and Higher Art Studies, Iran University of Art.
Abstract
In this paper, I reconstruct Georg Lukacs’ argument, as it appears in his 1963 the specificity of the Aesthetic. In Lukacs’ point of view the theory of reflection provides the common basis for all forms of theoretical and practical mastery of reality through consciousness. Thus it is also the basis for the theory of the artistic reflection of reality. The central idea of this reconstruction is to elaborate the specific character of the artistic reflection of reality in keeping with the goal it sets itself based on dialectal materialism. That is to say; to provide a picture of reality in which the contradiction between appearance and reality, the individual and the universal, etc., is so resolved that the two converge and provide a sense of an inseparable totality based on its historical genesis. For achieving this goal necessitates a reorganization of the relations between categories of reflecting reality, one should see what specific forms, relations, proportion, etc. does the categories common to all reflection receive in aesthetic positing? What becomes clear in the light of this reconstruction is that in Lukacs reorganization of the categories, the category of particularity, which is the synthesis of categories of universalization and individualization and based on their dialectical relations, is the main category of aesthetics and the work of art takes place in this category. Thus, in speaking simply of itself, each facet of the artwork, through its immersion in the whole cannot help reflecting the concrete reality in its totality.
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