Wyniki wyszukiwania - Biblioteka Nauki

1

THE COGNITION OF PURELY INTENTIONAL OBJECTS

100%

Krokos J.

Kwartalnik Filozoficzny

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2008

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tom 36

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nr 2

15-23

EN

Roman Ingarden devoted many of his philosophical works to the question of purely intentional objects. According to him, works of art are such objects. He investigated their ontological and epistemological aspects. Taking inspiration from his remarks on the cognition of purely intentional objects, and referring to Edmund Husserl's investigations, this paper sketches a general scheme of the cognition of such objects. The cognition of primarily intentional and secondarily intentional objects is described separately.

2

„Das Lebendige ist schön“. Bemerkungen zu Hegels Kunstauffassung

100%

Bacso B.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 1

55-63

EN

The true importance of the role of the interpretation of art in Hegel's later thinking is understandable only now, after the publication of the almost original version of the lectures on aesthetics. This article aims to highlight a usually neglected reading of Hegelian aesthetics, namely its 'Vergangenheitscharakter'. The starting point for this is a thesis of Hegel's: 'What is alive is beautiful, in so far as the soul becomes apparent in it'. It is 'not yet sufficient', yet it is true that in its endless approximation to a spiritually real 'doubling of the Idea' it aims at something indefinite, or, rather, we are, with a work of art, in an unreal place or in a place where things are continuously changeable. The work of art entered into a time of art and history, which requires interpretation, whereby the ever- 'changeable appearance of the Beautiful' is manifested in the work of art itself. Its being alive accepts being threatened only by its conceptual/illusory appearance.

3

Mieczysław Wallis: Experience and Value

100%

Bokiniec M. , Wallis M.

Estetika: The Central European Journal of Aesthetics

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2009

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tom 46

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nr 1

75-96

EN

These three essays are from a collection of Mieczyslaw Wallis' (1895-1975) papers on aesthetics 'Przezycie i wartosc' (Experience and value; 1968). The first is a summary of Wallis' views on the aesthetic experience, in which, on the one hand, he distinguishes aesthetic experience from other ways of experiencing an object (such as religious or practical) and, on the other hand, he analyzes the general features that aesthetic experience shares with other experiences and considers features characteristic of aesthetic experience alone. The second essay is Wallis' classification of aesthetic objects, which according to his theory are equivalent neither to beautiful objects nor to artworks. The last sets out his position on aesthetic values, and probably constitutes his most important and original contribution to aesthetics.

4

Gadamers Hermeneutische Kunstauffassung

100%

Olay C.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 2

129-155

EN

Art is no arbitrary topic in Hans-Georg Gadamer's philosophical hermeneutics. Rather, it is a fundamental phenomenon, the description of which constitutes an unavoidable task of philosophy. In this article the author seeks to demonstrate the importance of art in philosophical hermeneutics, and in two major steps develops a hermeneutical conception of art. First, the author discusses the concept of the truth of art with special attention to the view that art can be described as the cognition of essence. Second, the ontology of the work of art is analyzed in detail, focusing on Gadamer's basic idea that the work of art becomes accessible, strictly speaking, only in its presentation.

5

DIFFERENCES IN THE STRUCTURE OF A WORK OF ART ACCORDING TO INGARDEN AND HARTMANN

100%

Kopciuch L.

Kwartalnik Filozoficzny

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2008

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tom 36

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nr 2

101-114

EN

On several occasions Roman Ingarden accused Hartmann of using his ideas concerning the stratified structure of a work of art. In this paper, thw aurhor shows that the dependence between the two concepts has no genetic character. First of all, Hartmann formulated general solutions about such objects before Ingarden published 'Das literarische Kunstwerk'. Already in the 'Grundzüge einer Metaphysik der Erkenntnis', Hartmann spoke about the two-layer structure of works of art. Secondly, unlike Ingarden, Hartmann argued that the material layer belongs to a work of art. These two arguments show that Ingarden's accusations are unfounded.

6

Lévinas’s Conception of Art and Poetry

100%

Sevcik M.

Estetika: The Central European Journal of Aesthetics

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2006

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tom 42

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nr 1-3

80-148

EN

Focusing on the development of Lévinas' conception of art, the article describes the gradual reassessment of his original view, which sees a work of art as an 'eternal' stoppage of time. At a later stage, by contrast, the work of art is conceived as an 'expression' of the desire for the Other, that is, as a reference to the dimension from which diachrony stems, and also as an appeal to the responsibility for the Other. This is poetry, which makes a unanimous reference to the reality of time. Poetry renounces all synchronized objects intended by the consciousness. Poetry is the evocation of the Other, which manifests itself in the face of another person. As a refutation of the expression of objects, poetry points to the 'immemorial past' and 'pure future' of the Other.

7

Sztuka a prawda

88%

Makota J.

Kwartalnik Filozoficzny

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2010

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tom 38

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nr 3

7-23

EN

The truth of a work of art can be understood either in the classical sense, as a relationship between it and reality, or in the sense of coherence, having to do with the internal structure of the work. Ingarden denied truth in the classical sense to literary works. Other thinkers, such as Stróżewski, Gadamer, and Sparshott, are inclined to admit the possibility of a truth-oriented interpretation of literary works. The author of the article presents analyses of a number of short poems as examples of such interpretations.

8

ZIMMERMANN’S AESTHETICS AND RIEGL’S ART THEORY. INFLUENCES AND RESISTANCES

88%

Ionescu V.

ARS

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2013

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tom 46

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nr 1

86 -93

EN

Considering the impact of Zimmermann's aesthetics on the Wiener Schule der Kunstgeschichte and the influence of Riegl's art history on the 20th century art theory, the relation between philosophical aesthetics and art history is a potent theme. The study focuses on two questions: firstly, what is the place of the aesthetic dimension in Riegl's art history and how does it differ from Zimmermann's aesthetics? Secondly, how did Zimmermann's formalist aesthetic influence Riegl's analysis of the visual work of art?

9

PROBLÉM INTERPRETÁCIE UMELECKÉHO DIELA A MOŽNOSTI NAŠEJ SKÚSENOSTI

88%

Šedík M.

Filozofia (Philosophy)

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2014

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tom 69

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nr 8

666 – 677

EN

The paper examines different philosophical interpretations of a work of art as related to our experience and it´s ability. The first part gives an analysis of the process of interpretation with regard to different approaches to the problem of ontology of art. The paper also tries to answer the question of the limitations of interpretation and its place in our experiencing a work of art. Last, but not least, it is showed, how the interpretation could enhance the limits of our artistic experience.

10

INTERPRETÁCIA, KREATIVITA A HRANICE UMELECKÉHO DIELA

88%

Šedík M.

Filozofia (Philosophy)

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2013

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tom 68

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nr 7

583 – 594

EN

This paper examines some of the philosophical positions explaining the interpretation of artwork as related to its ontology and the concept of creativity. A theory of interpretation necessarily involves a certain ontological position answering questions such as: What is the object of interpretation?; What is a work of art? One can find the same close relation between a theory of interpretation and the creativity, i.e. the questions such as In what sense (if at all) is a work of art created?; What is created by an artist and what by the observer/reader/listener of a work of art?. Our interpretation and its results depend on answers to these questions. In conclusion the author gives an outline of his own position on the interpretation of a work of art in the context of the creativity and the ontology of the former.

11

János Erdélyi: Das Individuelle und das Ideale

75%

Papp Z. , Erdelyi J.

Estetika: The Central European Journal of Aesthetics

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2008

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tom 45

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nr 2

202-226

EN

Individuality and ideality are the two principles according to which aesthetes yesterday and today interpret art. But individuality must have priority because the systems of ideality, established for instance by Winckelmann and Schiller, produce nothing but lifeless, abstract and uniform figures who represent a concept or the genus. Individuality, on the contrary, is an analogon to nature where everything has its end and sense in itself, and everything must be judged by itself. This is the difference between the figures and works of Shakespeare and those of the idealizing authors. Individuality, however, does not simply mean the imitation of nature; rather it means a well-balanced synthesis of the material and the spiritual in something characteristic. This renders the objection of ugliness invalid, too, because it only pertains to the sensual perception, that is the beginning of perception. Those identifying the beautiful with the ideal are also at risk of insisting on objects which in the course of time lose their novelty and power. The study by the Hungarian aesthete and literary critic Janos Erdelyi, written in 1847, is an important attempt to enforce the principle 'life as it is' in the philosophy of art.

12

Aesthetic Supervenience versus Aesthetic Grounding

75%

Benovsky J.

Estetika: The Central European Journal of Aesthetics

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2012

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tom 49

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nr 2

166-179

EN

The claim that having aesthetic properties supervenes on having non-aesthetic properties has been widely discussed and, in various ways, defended. In this article, I aim to demonstrate that even if it is sometimes true that a supervenience relation holds between aesthetic properties and ‘subvenient’ non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric, and irreflexive relation is required, and I shall defend the claim that the increasingly popular relation of grounding does amuch better job than supervenience.

13

MAX DVOŘÁK BETRACHTET TINTORETTO ODER ŰBER DEN MANIERISMUS

75%

Bałus W.

ARS

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2011

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tom 44

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nr 1

26-44

EN

The article deals with Max Dvořákk’s handling of Mannerism, exemplified on Tintoretto’s “Crucifixion” in Scuola Grande di San Rocco in Venice. In Mannerist pictures, he found ruptures, symptoms and disturbing traits. To him, all artefacts of this artistic style originated as embodiments of the pure spirituality. He didn’t regard the Mannerist era as an epoch of crisis (as did Alois Riegl and other philosophers and art historians), but as an epoch of subjectivism.

14

ICONOSOPHY. RELATIONSHIP BETWEEN COLOUR THEORY AND ICONOGRAPHY (GOETHE AND TURNER. THE LABYRINTH OF WORD AND LIGHT)

75%

Pinero Moral R. , Dohna Y.

ARS

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2011

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tom 44

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nr 2

222-251

EN

The article argues that from a theoretical and philosophical point of view we must see colour as having an independent and autonomous language, which is essential for the interpretation of a work of art. The first part discusses the limits of the method of iconography, and the role of perception. The second part unveils the general meaning of the rhetoric of colour. The last part applies the theoretical observations to a specific work of art, Turners’ “Light and Colour (Goethe’s theory) – the Morning after the Deluge – Moses Writing the Book of the Genesis” interpreted through Goethe’s theory of colour.

15

JAN BIALOSTOCKI AND GEORGE KUBLER. IN AN ATTEMPT TO CATCH UP WITH THE SYSTEM

63%

Wojciech B.

ARS

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2010

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tom 43

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nr 1

119-126

EN

The paper examines why Jan Bialostocki found interest in the work of Georg Kubler, especially in his book: The Shape of Time. Remarks on the History of Things (New Haven - London 1962), which begins and ends with an attack on iconology. The Polish art historian reviewed and then cited it a great deal. His conception was to have constituted a reply to the crisis of the concept of style, and above all, an attempt to overcome the paradigm of stylistic unity of periods and the single-file march of styles throughout history.