Wyniki wyszukiwania - Biblioteka Nauki

1

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

100%

Hlobil T. , Wogerbauer M.

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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

HORIZONS OF PRAGMATISM

80%

Chudoba E.

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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.

3

EVERYDAY HERITAGE AND AESTHETICS: A REPLY TO GIOMBINI

80%

Kvokačka A.

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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.

4

EVERYDAY AESTHETICS SOLVING SOCIAL PROBLEMS

80%

Naukkarinen O.

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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.

5

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

80%

Hinkes B.

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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.

6

FINAL AESTHETICS: FORTY YEARS OF RUSSIAN POST-MODERNISM

80%

Golubkov M.

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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.

7

K FENOMENOLÓGII UMELECKEJ KRITIKY

80%

Lipták M.

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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.

8

V ČOM SPOČÍVA NADČASOVOSŤ NITRIANSKEJ ŠKOLY: PROJEKCIA MIKOVEJ VÝRAZOVEJ SÚSTAVY DO SÚČASNEJ TRANSLATOLÓGIE

80%

Gromová E. , Műglová D.

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nr 1

24 – 34

EN

The aim of this study is to point out the potential and versatility of Miko’s methodology. When analysed in terms of translation studies, Miko’s reception aesthetics, which highlights the procedural, dynamic qualities of the text and its “being” rooted only in reception, seems to foreshadow the sociological shift in text studies that, in turn, led to a paradigm shift in translation studies. The main part of the study covers possible uses of Miko’s expressive system, which include not only guidelines for the analysis and interpretation of source text and target text, and new ideas for source text and target text reader response studies, but also new research ideas for studying style configurations in interpreting. The study presents four basic types of textual intentionality (informative, expressive, appealing and declarative) which serve as a comparative background for a typology of communicative situations. This typology is construed by specifying the distribution of the basic binary oppositions of Miko’s expressive system, along with their necessary derived subcategories. The four types of textual intentionality can be a great introductory tool in translation training, and they have huge potential in teaching translation. By using textual intentionality types in drawing contrasts between cultures, interpreters will be more able to anticipate the expectations of their target audiences.

9

PROJECTIVE AESTHETICS AS A POSSIBLE WORLD

80%

Orlov B.

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nr 2

45 – 50

EN

The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement” (A. Berleant). Projective aesthetics involves the use of methodologies of a new type: “schizoanalysis” (in Deleuze’s and Guattari’s terms), “conceptivism” (as devised by M. Epstein) and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary.

10

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

80%

Zuska V.

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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).

11

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.

12

NATURAL SIGN AND PAINTING

80%

Salwa M.

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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.

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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

KONTEXTUALIZMUS A IMANENTIZMUS V ESTETIKE MARCELA PROUSTA

80%

Huba J.

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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.

15

CREATIVITY FROM THE COGNITIVIST PERSPECTIVE (Kreatywnosc z perspektywy kognitywistycznej)

70%

Bremer J.

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nr 20

61-80

EN

The following article begins with the presentation of several short definitions of creativity and an outline of the main characteristics of selected theories of creativity. Next, the interdisciplinary range of cognitivist research into creativity is described. It encompasses philosophy and psychology of creativity on one hand, and on the other hand - the research conducted in neurosciences as well as in research on artificial intelligence. In addition, possible applications of the theoretical analyses of creativity in pedagogical (educational) practice are indicated.

16

LOSS OF SKY-BLUE: CHANGES IN THE SKY-ENVIRONMENT

70%

Kolditz B.

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nr 2

75 – 87

EN

The main thesis to be explored is the undiscussed change in the sky-environment and the loss of sky-blue from our aesthetic reach. The concept of ‘living blue-beauty’ allows to introduce the dynamic sky-environment as a scientific subject and to use the findings to open inter- and transdisciplinary dialogue on anthropogenic sensory pollution. The observation of increasing changes up to the possible absence of this beauty also enables to address aesthetic and atmospheric (in-)sensibility and (co-)affection for fundamental environmental changes. In the context of an unprecedented epoch of the Anthropocene, concepts such as ‘everyday’ and ‘familiarity’ are being challenged. Furthermore, the sky-environment becomes revealed as vulnerable in its natural variability. On top of that, its threatened beauty justifies the pursuit of preventing its loss for the future.

17

THE SHIVER OF DELIGHT AND HISTORY OF LITERATURE ABROAD (Dreszcz zachwytu i historia literatury za granica)

70%

Shallcross B.

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nr 3(117)

212-217

EN

The authoress choses as the starting point Ulrich Gumbrecht's meditations on presence and significance meaning, contained in his book 'The Production of Presence'. The article's subject-matter proper is a sort of pre-discursive sensation manifesting itself as a delight leading to the subject's perdition in the work of art. The authoress endeavours to place this psycho-physiological resonance, conceived as a non-Kantian aesthetic moment, within the framework of university teaching of foreign literature.

18

In matters of taste, there can be no disputes. Elements of Camp in Fráňa Šrámek’s play »Léto«

70%

Firlej A.

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nr 2

85 - 100

EN

In this sketch I am going to focus on the presence of elements of Camp aesthetics in the Fráňa Šrámek's drama Léto, written and staged in 1915. Dandyism became popular at the turn of the 19th and 20th century in Czech culture and it would be the most crucial reference point to the Campy attitude. As a "local text" of the Czech decadentism, it took a place of bohemianism. In this sketch I understand Camp as a type of aesthetic avant-garde sensu largo, based on democratic tendency and on a fight against the given taste, analogues in many regards to the phenomenon it is against.

19

ADORNO V ČESKOSLOVENSKU: HUDBA, TEÓRIA, ESTETIKA

70%

Fulka V.

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nr 2

3 – 22

EN

The aim of this paper is to examine how Adorno's aesthetic and musicological thinking was received in Czech and Slovak musicology in the decades between the 60s and the 80s. The focus is on the Czech and Slovak translation of some of Adorno’s musicological treatises and lectures – especially those concerning his views on the Second Vienna School and the musical poetics of its immediate successors – which were published in former Czechoslovakia. The study offers an interesting perspective on Adorno’s relatively unknown lecture Form der neuen Musik (1965) and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] (1966) as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible] (1967). The study also considers other scientific texts by Adorno in relation to the above-mentioned translations of his works. The analysis, reflection, and interpretation of Adorno’s works in former Czechoslovakia, as well as their contemporary reception, turn out to be sporadic in the examined period. The purpose of this research is to revive awareness of their significance and to give a new impulse to their reassessment within the current musicological and philosophical reflection.

20

HUDOBNÉ IDIÓMY AKO VÝZNAMOVÉ A VÝRAZOVÉ KONŠTANTY. MAREK PIAČEK: APOLLOOPERA, MELODRÁMA O JEDNOM BOMBARDOVANÍ PRE ZBOR, HERCA A TROMBÓN

70%

Beličová R.

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nr 2

4 – 13

EN

Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music and thus become part of the deeper levels of European compositional tradition. Musical meanings are becoming typical for the particular sectors of European musical culture, and may even become their emblem. It is even likely that the idioms cease to be seen as a complex musical structure in the process of reception and they become a plain composition material, singular units of musical language. Using the postmodern composition Apolloopera by Marek Piaček, we illustrate the in-depth reference platform of musical idioms and examine the role of idiomatic units in the structure of a postmodern piece.