Abstract:
Aesthetics of otherness is formed on the basis of philosophy of otherness. Starting from the transcendence of others, Levinas defined aesthetics as the sense of transcending empirical consciousness and beauty as the primary state of things. Thus done, he gave a naturalistic tendency to his aesthetics, denying transcendence of beauty appreciation. Meanwhile, he believed that beauty was reduction of “things” and transcended existence, so it had nothing to do with men, neither as the subject nor as the object of men. Although his idea broke away from subjectivity, it denied intersubjectivity in beauty appreciation. Louis, another aesthetician of otherness, thought that beauty appreciation originated from Tao, which was the other and ethical. Artistic otherness gives expression to language, text, writing and reception. Thus, beauty appreciation is not a subjective, but public and objective activity. This theory brought about variation to aesthetic transcendence and intersubjectivity. In essence, aesthetics of otherness distorts the theory of aesthetic transcendence and intersubjectivity by emphasizing the transcendence and non-subjectivity of others. It is just in this sense that the rise of aesthetics of otherness paves a new path for affirming intersubjectivity and transcendence.
