Wyniki wyszukiwania - Biblioteka Nauki

1

Der Plan des ersten Lehrstuhls für Schöne Wissenschaften in der Habsburger Monarchie

100%

Hlobil T. , Wogerbauer M.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 1

65-96

EN

This article considers Karl Heinrich Seibt's (1735-1806) plan for a course in aesthetics at Prague University. First, using archive materials, it presents an historical introduction to the establishment of the chair in 1763. Michael Wogerbauer then compares the linguistic 'modernity' of the manuscript-draft of the syllabus (1763) with the printed version (1764), and Tomas Hlobil analyses the concept of the 'schoene Wissenschaften', which Seibt used in the two texts in four different ways.

2

JAN JÓZEF SZCZEPANSKI'S TREATY ON ART

100%

Debska-Kossakowska A.

Przegląd Humanistyczny

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2005

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tom 39

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nr 2(389)

1-15

EN

The authoress describes Jan Józef Szczepanski's standpoint towards the question of art. The text is a reconstruction of the theory of art written by the author of 'Rafa' (The Reef) in the works: 'Lopata archeologa' (The Shovel of an Archeologist) and 'Biskup jedzie przez morze' (The Bishop Goes over the Sea). In these essays Szczepanski presents his own critics of commercial totalitarian art. Simultaneously he writes his personal, invented for his own needs, normative theory of creation in them.

3

Auf den Spuren der richtigen Hegelschen Ästhetik

100%

Weiss J.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 1

41-54

EN

Heinrich Gustav Hotho (1802-1873) published the three-volume 'Ästhetik' (1835) four years after the death of Hegel. From archive research it has become clear that in the 'compilation' of his Hegelian 'Ästhetik' Hotho employed mainly his own lectures of 1823. This has led to the view that Hothos's 1823 lectures taken all together actually constitute Hegelian aesthetics. The present article seeks to challenge this notion. Hegel gave four series of lectures on aesthetics in Berlin in 1820/21, 1823, 1826, and 1828/29. Since he never wrote his own work on aesthetics, one might consider the edition of four series of lectures to be the 'real' Hegelian 'Ästhetik'. This amalgam conceals difficulties linked with the analysis of particular works of art. These difficulties are not resolved in the Hegelian 'Ästhetik', nor can they be with the edition of the lecture notes. Towards the end of the article, the author therefore comments on two other attempts at interpretation.

4

EVERYDAY HERITAGE AND AESTHETICS: A REPLY TO GIOMBINI

80%

Kvokačka A.

ESPES

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2020

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tom 9

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nr 2

62 – 65

EN

In this short paper, I examine the notion of everyday heritage as developed by Lisa Giombini in her article Everyday Heritage and Place-Making. While I argue that the article’s main contribution is to combine the literature on place-making with current debates in everyday aesthetics, I also highlight some of the issues that I think should be addressed to further refine the notion of ‘everyday heritage’ and make it more resistant to criticism.

5

K FENOMENOLÓGII UMELECKEJ KRITIKY

80%

Lipták M.

Filozofia (Philosophy)

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2017

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tom 72

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nr 10

813 – 824

EN

Husserlian phenomenology can analyse the art criticism in two ways: first, it can analyse its very transcendental possibilities; second, it can analyse it as a particular cultural institution. The former approach places art criticism within analyses of pure consciousness at the “crossroad” between aesthetic and natural attitude while arguing for primacy of the aesthetic experience in artistic value judgment. This analysis comes with a particular normative prescription for the art criticism. However, such prescription does not sufficiently address the multifaceted tasks the living art criticism takes upon itself. Therefore, the article investigates and outlines the latter approach, too, that is, the ways in which Husserlian phenomenology can engage with the art criticism as a cultural institution. Leads are offered by Husserl’s treatment of the ethical dimension of vocation, which could be fruitful for the art criticism as well.

6

HORIZONS OF PRAGMATISM

80%

Chudoba E.

Edukacja Filozoficzna

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2008

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nr 46

175-184

EN

The text is a presentation of main issues which were taken into consideration during the First Conference of John Dewey Center at Jagiellonian University in Kraków. The assembly took place in November 2007 and gathered the most important Polish academics specialized in American pragmatism. Larry Hickman, the President of John Dewey Center in Carbondale, USA, and an ambassador of pragmatism in the world, was the guest of honour and greatly contributed to the conference. The discussed issues covered four topics: Dewey's social philosophy, naturalism, aesthetics and the concept of experience, and the ancient roots of pragmatism.

7

EVERYDAY AESTHETICS SOLVING SOCIAL PROBLEMS

80%

Naukkarinen O.

ESPES

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2021

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tom 10

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nr 2

151 – 164

EN

What is the role of aesthetics, everyday aesthetics in particular, in processes of solving social problems? Many if not most social problems arise from and affect our daily lives. As far as these problems contain aesthetic aspects, these typically are also of an everyday kind. In this paper, I address the relations between social problems and everyday aesthetics in five sections. I will start by briefly describing what I mean by social problems. Second, I will outline what solving such problems means. Then, I will move on to defining aesthetics for the purposes of this article. Fourth, I will focus on the main question, the potential role of everyday aesthetics in solving social problems. Lastly, I will drill down a bit deeper into my own experiences in this matter in order to concretize the general points and give examples stemming from my working life.

8

EVERYDAY AESTHETICS: EUROPEAN PERSPECTIVES. INTRODUCTION

80%

Di Stefano E. , Lehtinen S.

ESPES

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2021

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tom 10

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nr 2

7 - 10

EN

This introduction presents the main motivations behind the special issue on Everyday Aesthetics: European Perspectives. The idea has been to invite authors to reflect how European and Europe-inspired thinking has affected and developed further the field of Everyday Aesthetics. The articles of the special issue are presented through their main themes and how they contribute to the contemporary discussions of the field.

9

UTOPIA IN BLACK. THE NEGATIVE AESTHETICS OF ADORNO AND THE CONTEMPORARY BLACK ART

80%

Pozo A. G.

Filozofia (Philosophy)

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2009

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tom 64

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nr 5

481-491

EN

Black is the colour of the negative aesthetics of Adorno, and the true of our time. The aesthetics that thinks the radical art of our time, a black art, can only be a black aesthetics. The radical contemporary art is black art, and it is so because according to the aesthetic principle that constitutes the work of art as such - the spirit understood as mimesis - this one, the work of art, is writing of a blackened historical reality. What Adorno tries with black art is to return to art its right to exist after Auschwitz, in a discoloured world. But black art, as alive conscience of pain, as truth of the real, is already salvation, hope, utopia.

10

Lending an Ear to the Silence Phrase: Lyotard's Aesthetics of Holocaust Memory

80%

Glowacka D.

Teksty Drugie (Second Texts)

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2007

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nr 1/2(103/4)

41-59

EN

Drawing on Jean-François Lyotard's concept of the differend, the authoress points out a radical incommensurability between different ways of 'speaking about Auschwitz'. She argues that Holocaust literature has become the site of the conflict between ethics and aesthetics, and she refers to this conflict as the differend between the aesthetic and ethical phrases. Holocaust remembrance today requires that we bear witness to this differend. In his writings on the sublime, Lyotard redefines Kant's category as the affective testimony to the happening of the event. In The Differend, he deploys the idiom of the sublime to communicate the differend's resistance to representation, which can only be signaled through a silent feeling. Lyotard relates this silence to the silence imposed on Holocaust survivors' 'phrase' by the regimen of knowledge. In Holocaust literature, however, 'silence' is also a powerful rhetorical figure, the figure of the sublime. Yet, considerations that fall under the domain of rhetoric and aesthetics are often excluded from the debates about the Shoah since they are thought to be subservient with respect to the ethics of memory. Glowacka argues against the subsuming of aesthetics by ethics within 'the Holocaust genre of discourse': on the contrary, it is the force of the tension between them that constitutes the affective force of Holocaust literature. In this way, Holocaust literature bears witness to the continuity of Holocaust memory, to the life of the memory phrase 'Remember'!

11

Sztuka jako święto w filozofii Hansa-Georga Gadamera

80%

Czakon D.

Kwartalnik Filozoficzny

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2012

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tom 40

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nr 2

149 - 165

EN

The subject of this article is the idea of festival, which is one of the three aspects of the definition of the arts according to Hans-Georg Gadamer. The author of this paper describes Gadamer's aesthetic theory, providing an overview of the central thesis of Gadamer's notion of art as the experience of a festival, contained primarily in the essay, The Relevance of the Beautiful and in his major work, Truth and Method. This article consists of three parts which depict, consecutively, the temporality of the aesthetic, art and festival, and art as the experience of unity.

12

NATURAL SIGN AND PAINTING

80%

Salwa M.

Studies in Logic, Grammar and Rhetoric

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2009

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nr 15(28)

221-232

EN

The author discusses philosophical context of arts on the example of natural sign and painting, underlying the fact that today, when aesthetics is a well grounded philosophical discipline, one tends to forget that before this discipline emerged in an explicit way, intersections between visual arts and philosophy had been rare.

13

INTRODUCTION TO ARNOLD BERLEANT’S PERSPECTIVE

80%

Alcaraz A. L.

ESPES

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2017

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tom 6

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nr 2

1 – 8

EN

The selection of papers in the 6th Volume of the ESPES journal focuses on the development, analyses and critique of Arnold Berleant’s ideas on aesthetic engagement, social aesthetics, negative aesthetics, and environmental aesthetics. These issues are approached by researchers from various continents showing the inspirational potential of Berleant’s perspective, inviting metaphors, opening paths for individual development in the field of art philosophy and aesthetics.

14

ESTETIKA V DIVADLE

80%

Sošková J.

ESPES

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2013

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tom 2

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nr 2

1 – 8

EN

The author deals with specific conditions for possible aesthetic experience and aesthetic perception in the conditions of theatre artwork performance. Opinions of J. Mukarovsky on avant-garde theatre, opinions of J.Derrida on Artaud’s theatre of cruelty and opinions of N. Goodman on art language including theatre art are the background of her thoughts.

15

Looking for Beauty in the Brain

80%

Weed E.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 1

5-23

EN

The emerging research area of neuroaesthetics has provoked a good deal of discussion. Although it seems reasonable to describe the experience of aesthetic enjoyment as a mental event, and it also seems reasonable to claim that mental states must be related to brain states, the search for specific brain states that correlate with aesthetic enjoyment is tricky, despite the many recent advances in brain-imaging technology. Correlating the aesthetic experience with specific brain states involves defining the aesthetic experience. By applying a model from the world of empirical consciousness research to three neuroaesthetic experiments, the author shows that each of these studies approaches the object of study, the aesthetic experience, from a different perspective. By employing a framework to make explicit the sometimes implicit assumptions involved in neuroaesthetic research, he hopes to open a new avenue for the continuation of an already fascinating discussion.

16

NESTRUKTURNÍ VERZE VARIAČNÍ METODY – EXPLANAČNÍ SLABOST GESTALTU, MEZE IMAGINACE A ODMÍTNUTÍ JINÉHO

80%

Zuska V.

ESPES

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2019

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tom 8

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nr 2

28 – 32

EN

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism (Mukařovský) and phenomenology (Husserl).

17

SPORT AS ART

80%

Zowislo M.

Edukacja Filozoficzna

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2007

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nr 44

27-39

EN

The article presents and polemizes Wolfgang Welsch's postmodern justification of sport as a kind of art. Welsch maintains and tries to demonstrate that contemporary sport passes from the sphere of ethics (that was a peculiar foundation for the ancient traditional olympism) into the domain of aesthetics. This passing is a 'signum temporis' of a more general process called by Welsch (also by Richard Shusterman) the aesthetization of life. When life is permeated by aesthetic values and estimates then all its factors, and sport among others, are close to the experience of art. This is the best argument (and indeed the postmodern argument) to legitimize sport as a noteworthy phenomenon of culture. The thesis of above article is that sport in its Greek origins was and nowadays it goes on to be both ethical and aesthetic phenomenon. Giving up the moral basis would be destructive for sport. Sport is much more conservative than art that can effort experiments with good and evil. Such experiments within the area of sport are not allowed because sport engages human body and its health. Contemporary sport seems not to apply to the rhetoric of postmodern philosophy.

18

KONTEXTUALIZMUS A IMANENTIZMUS V ESTETIKE MARCELA PROUSTA

80%

Huba J.

ARS

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2022

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tom 55

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nr 1

51 - 58

EN

This article deals with the issues of immanentism and contextualism concerning the literary and critical work of Marcel Proust. First, it compares several authors’ works and notes Proust’s methods in interpreting works of art. Then, based on Proust’s thought, it problematizes the temporality of art, the relation of art to social reality, and the author’s biography. From this position, I believe I can approach the core of Proust’s aesthetics more systematically than if I had stayed with the psychology of art or analyses of memory or the aesthetic situation.

19

APPROACHING AESTHETICS OR: INSTALLATION ART AND ENVIRONMENTAL AESTHETICS AS AN INVESTIGATIVE ACTIVITY

80%

Hinkes B.

ESPES

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2017

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tom 6

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nr 2

62 – 71

EN

The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aesthesis. The article will illustrate these thoughts through the examples of Bruce Nauman, Ilya Kabakov, and Arnold Berleant.

20

FINAL AESTHETICS: FORTY YEARS OF RUSSIAN POST-MODERNISM

80%

Golubkov M.

Slavia Orientalis

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2005

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tom 54

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nr 2

207-228

EN

The author presents the main trends in Russian post-modernist literature from the late 1960s to this day. He emphasises the distinctness of the ideas of Russian postmodernism from Western ones, making reference to the works of the most eminent representatives of the movement in Russia, both poets: Timur Kibirov, Dmitri Prigov, Lev Rubinstein and prose-writers: Pavel Krusanov, Viktor Pelevin, Vladimir Sorokin, and Tatiana Tolstoi.