Wyniki wyszukiwania - Biblioteka Nauki

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Remapping the Realm of Aesthetics: On Recent Controversies about the Aesthetic and Aesthetic Experience in Everyday Life

100%

Ratiu D. E.

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tom 50

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nr 1

3-27

EN

This article addresses two controversial open questions in philosophical aesthetics: the nature and value of the aesthetic and of aesthetic experience when approached from the standpoint of ‘aesthetics of everyday life’ (AEL). Contrasting ‘strong’ AEL accounts that consider them radically different from those in the sphere of art, I claim that extending the realm and scope of aesthetics towards everyday life does not necessarily dispense with the concepts of the aesthetic and aesthetic experience as shaped in relation to the arts. Drawing on ‘weak’ formulations of AEL and on theories that call attention to concepts of art different from modern ones, I defend a normative but open model of the aesthetic and aesthetic experience pertaining to both art and everyday life. This more integrative theoretical framework needs to include clear and consistent views of the aesthetic as well as of the self, intersubjectivity, and everyday life.

2

KÁNON SLOVENSKEJ LITERATÚRY A KÁNONICKÝ STATUS LITERÁRNEHO DIELA

75%

Rédey Z.

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2015

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tom 7 (24)

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nr 3

16 - 29

EN

The contribution focuses on the question: to what extent is the Slovak literary canon grounded in the literary and aesthetic value of the texts it contains? In what sense, or, to what extent is the canon determined by eventual extra-literary, mainly ideological, matters? The paper does not examine the problem in its full extent; it rather demonstrates this upon the synecdochical choice of exemplary literary works, especially on the poetry by P. O. Hviezdoslav who emblematically embodies the national literary classic, as well as on the poetry by J. Ondruš. The paper points to a more general tendency in the practice of contemporary Slovak literary historiography which tends to classify work as canonical, disregarding its aesthetic value – structured at the level of intensional meaning – and considers only its extensional semantics. To be more precise, it rather follows an “extensionally represented” content – mediated in its different meta-textual form – which, on this level, is interpreted from extra-literary, mainly ideological, standpoints.

3

More Than a Story: The Two-dimensional Aesthetics of the Forest

63%

Dadejik O. , Zuska V.

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tom 47

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nr 1

27-50

EN

This article presents a general conception of aesthetic experience built on an analysis of the relationship between the narrative and the ambient dimensions of the aesthetic value of a natural environment, the forest. First of all, the two dimensions are presented with respect to the possibilities and problems raised by distinguishing between them. Next, the possibilities of their relationship are analysed and it is argued that they are strongly complementary. This complementarity becomes the core of the proposed conception of aesthetic experience, which can explain the difference between the aesthetic and the non-aesthetic, and can also provide an answer to the question of the non-reductive differentiation between the aesthetic experience of nature and the experience of a work of art. The conclusion of the article is mainly concerned to eliminate one of the problems localized in presenting the ambient dimension (the ambience paradox), by means of Ricoeur's conception of the relationship between time and narrative.

4

Hrubanova novotomistická estetika v olomoucké Filosofické revue

63%

Pospíšil Z.

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nr 3

63-78

EN

Jaroslav Hruban (1886-1934), a follower of Otakar Hostinsky, is an unjustly marginalized Czech aesthetician, even though his work shows a considerable body of philosophical, psychological, and aesthetic learning. The lack of interest in Hruban's thought might be explained by the fact that he lived a secluded life outside the main cultural centers (in Uhersky Brod), did not work at a university, and was a theorizing aesthetician of a speculative orientation in an age promoting positivism, empiricism, and interest in the form and structure of art. His 'Introduction to Aesthetics' (Uvod do esthetiky) (1915) is the first Czech attempt at a philosophy of aesthetic values, which, eventually, became the major subject of his work - 'The Essence of Aesthetic Value: A Contribution to the Metaphysics of Aesthetics' (Zaklady esteticke hodnoty: Prispevek k metafysice estetiky) (1930). Hruban's aesthetics was greatly indebted to Kant's transcendental psychology and Volkelt's theory. Since the late 1920s Hruban had drawn inspiration from the Thomist teaching represented in particular by J. Maritain. The scholastic thought was the common denominator of his texts published in the Philosophical Review (Filosoficka revue), a Thomist-oriented quarterly established by Dominicans in Olomouc in 1929. He perceived art as a 'servant of transcendence' and the supreme manifestation of human mind. Beauty, in his understanding, equally pertained to the universe of transcendence, to the supersensory, metaphysical order. He strove for such an aesthetics that would - in terms of neo-Thomism - remove the antithesis of the sensual and the spiritual, the physical and the metaphysical, the naturalist and the idealistic. The aesthetic value acted as a mediator between the two worlds. A profound humanism of his work, together with some aspects interesting from the scholarly point of view, proves a number of his ideas can potentially address the present audience. The terms aesthetic culture or the aesthetic were well ahead of their time.