ABSTRACT Certain aestheticians attempt to define everyday aesthetics by describing it as radically private, subjective and nondiscursive. The main aim of this article is to counter this restrictive, isolationist approach to everyday aesthetics by pointing to the role of intersubjective, discursive, institutional arenas in fostering meaningful everyday aesthetic experience. To this end, the first part of the article conducts a historical and hermeneutical exploration of how modern subjectivity was initially constructed, later problematised, and how today it is often reconstructed as intersubjectivity by poststructuralism and the Artworld. I then turn to how this issue is playing out in the current discourse on everyday aesthetics. The second part of the article shows that prominent contemporary aestheticians agree that language has the potential to enrich ineffable aesthetic experience in all walks of life. I extend this broad perspective by arguing that differential discourse is particularly appropriate for this task. In conclusion, I suggest that by demarcating everyday aesthetics as private and as the “other” of the contemporary Artworld – by retrogressively defining it in terms of subjective experience – there is a risk of marginalising this important area of aesthetic interest and of impoverishing both art and everyday aesthetic life.

中文翻译：

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论艺术与日常美学中的主体间性

摘要 某些美学家试图通过将日常美学描述为极其私密的、主观的和非散漫的来定义它。本文的主要目的是通过指出主体间的、话语的、制度性的领域在培养有意义的日常审美体验中的作用，来对抗这种对日常美学的限制性、孤立主义的方法。为此，本文的第一部分对现代主体性最初是如何被构建、后来如何被问题化以及今天它如何经常被后结构主义和艺术世界重建为主体间性进行了历史和解释学探索。然后我转向这个问题如何在当前关于日常美学的话语中发挥作用。文章的第二部分表明，当代杰出的美学家一致认为语言具有丰富各行各业难以言喻的审美体验的潜力。我通过论证差异化话语特别适合这项任务来扩展这个广泛的观点。总之，我建议将日常美学划分为私人的和当代艺术世界的“他者”——通过根据主观经验对其进行倒退定义——存在边缘化这一重要审美兴趣领域和使这两种艺术变得贫乏的风险。以及日常的审美生活。