Apriorism Aesthetic Criticism

Ascribed to the powerful transcendental logic, the domestic learners are apt to give the phenomenological aesthetics a retailing and applying research, whereas I'd like to give a critical one. The object of this critical research can be defined as the transcendental logic, which has manifested itself in Classic German Aesthetics and Phenomenological Aesthetics, or Phenomenological Aesthetics as a new period of transcendentalism aesthetics. This thesis believes that the possibility of a critical research on the transcendental logic could emergence only on the basis of a new inherent relation between the Classic German Aesthetics and the Phenomenological Aesthetics had been discovered.The thesis consists of three parts: a critical observation on the Classic German Aesthetics as an introduction, a critical observation on the Phenomenological Aesthetics as the principal part and the conclusion that led by the concept transcendental reduction. In the introduction, the paper gives the aesthetics works of Kant, Fichte and Romanticists, Schelling, Schiller and Hegel new illuminations. And in the principal part, which begins with a compendious narration of Husserl's phenomenology, Husserl, Geiger, Ingarden, Dufrenne and Heidegger are observed as Phenomenology Aestheticians. And the conclusion consists of three chapters: transcendental reduction and literature critic, transcendental reduction and original creation and transcendental reduction and aesthetics animadversion. With the help of such a perplexing concept, the paper tries to seek the possibility of a final animadvert on the transcendental logic in aesthetics. As a tag, the paper put forward a couple of concepts aesthetic ruduction and aesthetics reduction to arouse a further meditation.The thesis argues that the major idea of Classic German Aesthetics is to illuminate beauty in the meaning of unification of subject and object while the Phenomenology Aesthetics treated the aesthetic objects as thing-in-itself in a transcendental meaning through which we sublime the experienced subject to transcendental subject. Both of the two aims to make beauty, as the meaning of aesthetic object, obtain its apriority and substantiality. However, this thesis insists that any transcendental or substantial meaning be understood as a given meaning, that is to say, a meaning being constructed. We should keep the phenomenological attitude to the substantiality of meanings, as well as the substantiality of matters. And only when we succeeded in constructing the critical relation between transcendence andexperience might we communicate the discourse of aesthetics and the discourse of criticism on a new lay. All of those would redound to paving the way to seek the Promethean meaning, which is really worth of seeking.