The phrase "aesthetic spheres" is correct and usable in written English.
It can be used in discussions about art, design, philosophy, or any context where different realms of beauty or artistic expression are being analyzed or compared.
Example: "The artist explores the interaction between different aesthetic spheres, challenging traditional notions of beauty."
Alternatives: "artistic domains" or "beauty realms".
To explain tragic myth, the first requirement is to seek the pleasure that is peculiar to it in the purely aesthetic sphere, without bringing in pity, fear, or the morally sublime.
Hence the disreputable allure of Péladan, who dared to speak aloud what usually remains implicit in the aesthetic sphere: belief in the artist's alchemical power, in the godlike nature of creation, in the oracular quality of genius.
"By defining Abstract Expressionist painting as a psychological event, it denied the aesthetic efficacy of painting itself and attempted to remove art from the only sphere in which it can be truly experienced, which is the aesthetic sphere," Mr. Kramer said in an interview on the occasion of receiving a medal from the National Endowment for the Humanities in 2004.
The primary value of the aesthetic sphere, Lukács claims, can only be the work of art itself since this value is presupposed by any description of artistic production or aesthetic experience.
In the 1916 Aesthetics, Lukács adopts a much more radical version of this Neo-Kantian argument: whereas the reality of everyday life is characterized by a heterogeneity of forms of objects, the aesthetic sphere of validity is characterized by a distinct form of objectivity that is legislated as a norm by experience itself.
Irony marks the boundary between the aesthetic and the ethical spheres, while humor marks the boundary between the ethical and religious spheres.
"Aesthetic life is a sphere of self-directed activity whose external ramifications, despite periodic utopian exuberances, are minimal at best," Robbins concludes (somewhat contradicting his "community" theory).
Herbert Muschamp attacks the Department of City Planning for "crossing a decisive line" and for setting up shop "in the sphere of aesthetic preference" ["Reaching for Power Over Streets and Sky," May 14].
He writes of his subjects, "By dressing up they can share their art with the world and bring their aesthetic into the public sphere.
