Wyniki wyszukiwania - Biblioteka Nauki

1

Estetika A. G. Baumgartena

100%

Novotná-Březovská B.

Filosofický časopis (Philosophical Journal)

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2008

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tom 56

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nr 5

669-685

EN

This article is the result of the author’s inquiry into the work of the eighteenth century German philosopher and aestheticist Alexander Gottlieb Baumgarten. We are not concerned here so much with his key, though fragmentary, work Aesthetica, rather we seek to map the writings that led up to that work and which formed it. The periods prior to the publication of Aesthetica are covered by four texts in which the author discovers and defines the basic thoughts of “the new science of aesthetics”. Baumgarten’s theory of aesthetics is founded on Leibniz’s system of the monads, which are distinguished by the different clarity of their ideas. Baumgarten’s starting point is that ideas are the result of the epistemic power of our soul, and they are therefore crucial in any understanding of the character of knowledge in general. On the basis of a defining of the group of so-called lower epistemic powers of the soul (where, in addition to sense, there is for example to be found the poetic ability, or imagination) aesthetics arises. Baumgarten asserts (and he does so precisely in these pre-aesthetic writings) that sensory knowledge is analogical with the principles of rational knowledge. Here he is dealing with aesthetics connected not so much with the sphere of art, but rather with the very fundaments of human perception and knowing. He is concerned with aesthetics as a science.

2

The Position of Aesthetics in the Early Renaissance and the Philosophy of Marsilio Ficino

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Kuczyńska A.

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2018

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nr 1

61-76

EN

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very broad view of the entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness.

3

Znaczenie personalistycznej krytyki artystycznej w poszukiwaniu sensu sztuki

80%

Winnicka-Gburek J.

Estetyka i Krytyka

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2011

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nr 2(21)

167-178

EN

I perceive the art criticism as the philosophical reflection on art. It is possible to ask question about the sense of art only on the basis of philosophy including, among others, peronalism. In this text, the concept of Tymon Terlecki’s personalistic criticism based on Emmanuel Mounier’s philosophy is analyzed to assess the usefulness of its main assumptions and design a model of the contemporary artistic critic. The analysis of such concepts as person, personal movement, freedom, transcendence, symbol and view leads to the conclusion that a critic personalist is not supposed to be satisfied only with deciphering the sense of art. However, s/he is to extend the scope of her/his reflection with the context of the work’s potential impact on an artist and a viewer.

4

Malowanie filozofii. Drzeworyty Arthura C. Danto

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Bogusz-Bołtuć E. D.

Estetyka i Krytyka

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2011

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nr 2(21)

25-44

EN

This essay is intended to remind of, or rather to extract from oblivion, art, which was last displayed fifty years ago, in 1960, in New York. Arthur C. Danto before he became a philosopher was first and foremost an artist. He created black and white woodcuts, in which he managed to combine two different traditions of imaging German Expressionism and the New York school of Action Painting. This art is valuable not only because it belongs to the achievements of one of the most respected contemporary philosophers of art and art critics. Danto's artistic oeuvre is an excellent example of painterly woodcuts, balancing on the border of figurative and abstract. Also, an important, so far ignored fact, is that this artistic experience had a significant effect on the formation of Arthur C. Danto philosophical theories. So Baroque Figure, Elder, and other prints by Danto, preceded and prepared an innovative interpretation of Warhol's Brillo Boxes.

5

Aksjologiczny wymiar współczesnej rekonfiguracji aisthesis

80%

Misiak T.

Estetyka i Krytyka

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2012

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nr 1(24)

57-76

XX

The traditional idea of aesthetics was connected to the sphere of art. Exclusively. Radical ideas of the avant-garde of the 20th century together with the expanding role of media and technology in contemporary culture led to broadening research of aesthetics. Contemporary aesthetics is interested in “aesthetic” in the broadest sense of this word. Thus, it is focused not only on art but also it is interested in everyday reality which is the very object of aesthetic processes. Most of all, however, it is focused on the relationship between art and various spheres of reality. One of the consequences of this changes is questioning the traditional hierarchy of senses with the sense of sight as prior. In my research I point at reasons for such hierarchy and I suggest some alternative ideas. According to the critics of the contemporary culture I mention in this work that balance to the hegemony of the sense of sight and vision may lie in the sense of hearing and sound as such. That is why I describe the metaphor connected to seeing and hearing and the vision of the world associated with it.

6

Estetyka czasu wolnego

80%

Truszkowska-Wojtkowiak M.

Estetyka i Krytyka

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2012

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nr 2(25)

263-272

XX

The features of aesthetic experiencing, establishing subjectivity of aesthetic situation, coincide with the features of leisure time behaviours, which is the main thesis of this paper. I point out to similarities and mutual relations of the two phenomena. The subjectivity of aesthetic and leisure time perception often makes us analyse them as a state of mind. Aesthetic experience is an element of almost each function or form of leisure time. Leisure time (scholé), as defined by the first philosophers, is a necessary - synergic element of aesthetic experience, whereas an opposite relation does not always occur. The similarities in the analysis of leisure time and aesthetic experience are particularly well seen from psychological or even psycho-physiological perspective. In terms of traditional aesthetics, philosophical works of Kant, Hegel and Schiller constituted a base for pedagogical theories on leisure time and aesthetic experiencing.

7

Czy sens i znaczenie współczesnej sztuki popularnej sprowadza się do jej wartości rozrywkowych?

80%

Dziemidok B.

Estetyka i Krytyka

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2011

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nr 1(20)

47-63

EN

The paper is an attempt to answer a question about value of popular art and critically approach a view, that prices of popular art are only of entertaining virtue. Among massively produced works of popular art obviously ones lacking artistic values and aesthetic qualities, which do not deserve to treated as works of art. However, works of high art does not contain only masterpieces, moreover one can find pretentious kitsch or tacky pieces there too. Richard Shusterman convincingly proved, that a view generally denying works of popular art artistic status and aesthetic value is not justified. Popular art satisfies aesthetic needs of millions of consumers among whom are also cultural and competent recipients of art. Neither should one depreciate works of dominantly entertaining value. Good entertainment is important in our times to many people, since it provides relief, relaxation releases the tension and improves the spirit. As a result helps to retain or regain psychological equilibrium. Having describe the specificity of cognitive, moral and cathartic – compensatory values of art, author suggests, that good works of popular art, such as American noir crime morals (Chandler, Hammett, MacDonald) or films of Woody Allen or Francis Coppola are not devoid of such values.

8

Prawda sztuki a rzeczywistość. Estetyka Hansa-Georga Gadamera wobec wybranych zjawisk sztuki współczesnej

80%

Ziółkowska A.

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2012

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nr 1

79-93

EN

Hans-Georg Gadamer combines the experience of art with the experience of truth. Dealing with art impacts strongly upon human existence. Reality and art – despite their different ontological status – remain together in a dynamic relationship. This article consist of two parts. The first one considers Gadamer’s aesthetics. Taken into account are such issues as: hermeneutical aesthetic experience, the ontological status of art, truth of art and relationship between art and reality. The second part confronts Gadamer’s aesthetics with some forms of contemporary art such as: happening, performance and pop art. This article focuses on the consequences which result from this confrontation for the truth of art and its relationship to reality.

PL

Hans-Georg Gadamer łączy doświadczenie sztuki z doświadczeniem prawdy. Obcowanie ze sztuką oddziałuje silnie na ludzką egzystencję. Rzeczywistość i sztuka, pomimo różnego statusu ontologicznego, pozostają ze sobą w dynamicznym związku. Niniejszy artykuł składa się z dwóch części. W pierwszej części rekonstruuję estetykę Gadamera. Podejmuję m. in. zagadnienia: hermeneutycznego doświadczenia estetycznego, statusu bytowego dzieła sztuki, prawdy sztuki i relacji pomiędzy sztuką a rzeczywistością. W drugiej części konfrontuję rozważania hermeneuty z niektórymi przejawami sztuki współczesnej, takimi jak: happening, performans, pop-art. W artykule skupiam się na konsekwencjach, jakie płyną z tej konfrontacji dla zagadnienia prawdy sztuki i jej relacji do rzeczywistości.

9

Determinanty dzieła sztuki jako continuum obrazów

80%

Krupiński J.

Estetyka i Krytyka

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2013

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nr 1(28)

59-82

EN

A work of art exists through images. The determinants of a work of art seen as an image are the following: vision; the carrier of the image, the object produced and/or the chosen artefact; the surroundings of the carrier, in which it is placed; the functional context of the work the “subject” of the image, i.e., what is seen, the thing portrayed in the image; the world of the “subject” of the image; the onlooker, the viewer of the image; the “ideatic” context of the image, and of its subject in particular (“the world of ideas”). Essentially, the category of “image” determines the character of a work of art. Yet on a more basic and original level, it determines the very way the human world exists, and human beings themselves. Thus art becomes significant for human beings.

10

Publikacje Bogdana Nawroczyńskiego (1882–1974) w „Kwartalniku Pedagogicznym”

80%

Przanowska M.

Kwartalnik Pedagogiczny

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2014

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nr 3(233)

53-76

EN

The article presents an analysis of Bogdan Nawroczyński’s publications printed in “The Pedagogical Quarterly”. In order to celebrate the sixtieth anniversary of the Faculty of Education at the University of Warsaw and to pay homage to Prof. Nawroczyński, many excerpts from his publications are quoted as well. In the first part of the article, Nawroczyński’s texts from the quarterly are grouped into three categories: articles, reviews and scientific press reviews and each of the groups is briefly discussed. The second part is devoted to more extensive quotations from Nawroczyński’s articles, in which he raises important issues concerning comparative education, the significance of cultural and aesthetic experience in education and the place and role of school in education. Moreover, in his texts one can easily find humanistic concern for a quest for a human being, for a person as a certain whole not divided into some fragments schematically perceived from the angle of natural or social sciences.

11

Estetyka jako nauka ﬁlozoﬁczna. Uwagi o obecnym stanie dyskusji

80%

Konik R.

Studia Philosophica Wratislaviensia

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2006

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tom 1

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nr 1

47-56

EN

Among the issues discussed in the debate concerning the theoretical status of aesthetics is, for example, the ambiguity of the concepts fundamental to the discipline. This is especially true in the case of the essence of beauty, ontological status of art, the nature of aesthetic and artistic experience, social and individual impact of art, the rules for verification of aesthetic propositions, etc. A multitude of divergent, often mutually exclusive understanding of these concepts makes very difficult to determine the status of the discipline itself. Aesthetics has also been accused of the lack of terminological precision of its concepts, incoherence of its theoretical assumptions, and bad methodology. Another objection is that aesthetics it is rather a cluster of reflections coming from ontology, epistemology, semiotics, theory of culture, anthropology, sociology, psychology or linguistics, rather than an independent discipline on its own. The fact that art has now entered virtual worlds has further diminished the aestheticians' desire to form normative propositions concerning the art. With the above in view, I sketch a possible definition of subject of aesthetic reflection as an independent philosophical discipline.

12

Od nowej nowej poezji do nowej poezji i z powrotem

80%

Kałuża A.

Postscriptum Polonistyczne

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2014

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nr 2(14)

95-109

EN

The article refers to poetry that is regarded from a new media perspective. The author claims that both untraditional and traditional (inscriptive) forms of poetry require new media perspectives. Such an assumption seems essential now, especially since technology is becoming socialized and traditional systems of art have been deconstructed. The article aims at justifying such assumptions and describing the consequences for poetry.

13

Paul Hindemith a idea postępu, tradycja i neoklasycyzm

80%

Księska-Koszałka J.

Kwartalnik Młodych Muzykologów UJ

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2017

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nr 4(35)

111-122

EN

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

14

Women as Constellation in Walter Benjamin’s Aesthetics

80%

Damião C.

Estetyka i Krytyka

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2016

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nr 2(41)

119-134

EN

In seeking to combine the concept of the ‘Feminine’ and ‘Aesthetics,’ the approach here is to carry out an initial examination of Walter Benjamin’s aesthetic theory, then delve into his texts on Eros, leading to his personal correspondence. These combined references will indicate his change of mind, moving from the feminine, as unique, towards its ‘constellation formation’. Montage is the medium of leading with quotation as a mosaic incorporating the image of constellation. The use of montage has parallels in certain avant-garde art movements, its purpose being to disrupt a purely linear approach, in order to cope with the reality of the fragmentation of experience. Although we have little evidence of Benjamin’s theory being connected to Gender Studies, we can take his theory on Eros as an example of how this philosopher foresaw some of the contemporary questions concerning women, amalgamating these with his Aesthetics theory.

15

O przedmiocie estetyki. Dlaczego estetyka nie jest nauką podejrzaną

80%

Przybysz P.

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2003

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tom R. 44 nr 2 (153)

129-147

PL

Artykuł omawia jeden ze sposobów wyznaczenia przedmiotu poznania w estetyce oraz określenia jego zależności w stosunku do przedmiotów dyscyplin pokrewnych. Analizie zostały poddane rozstrzygnięcia Stefana Morawskiego w tym obszarze.Rozważania podzielono na sześć zasadniczych części. Część pierwsza dotyczy rozumienia kategorii "świadomość estetyczna" i jej związków z przedmiotem poznania. Druga część grupuje i odpiera najczęściej pojawiające się zarzuty wobec estetyki. W części trzeciej dokonano sformułowania przedmiotu poznania, część czwarta przedstawia zaś związki tego przedmiotu z pokrewnymi dyscyplinami wiedzy. W części piątej sformułowano zakres badań estetyki. Całość zamyka podsumowanie prezentowanej problematyki

EN

This article discusses one way to designate the object of knowledge in the aesthetics and to determine its dependence with respect to items related disciplines. Analysis were subjected to resolve this by Stefan Morawski obszarze.Rozważania divided into six main parts. The first part concerns the understanding of the category of "aesthetic consciousness" and its relationship with the object of cognition. The second part of groups and frequently asked refutes allegations against aesthetics. In Part Three of the formulations were made the object of cognition, while the fourth part presents the relationship of the subject with related disciplines of knowledge. In Part Five studies were formulated range of aesthetics. The whole closes summary of the issues presented

16

Das Erhabene als literarisch-ästhetische Kategorie

80%

Styka J.

Classica Cracoviensia

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2013

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nr 16

165-187

EN

The paper discusses the rhetorical and literary concept of the sublime (tὸ u`qov) and its development in the theory and practice of the ancient Greeks and Romans. Special emphasis is put on pseudo-Longinus' treatise De sublimitate and its understanding of the concept of the sublime.

17

„Stín reality“ v kontextu Lévinasova myšlení

80%

Ševčík M.

Filosofický časopis (Philosophical Journal)

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2009

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tom 57

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nr 6

887-892

EN

Focusing on Emmanuel Lévinas’ idea of the “shadow of reality”, the article describes the development of his approach to aesthetics and its relation to other important topics in Lévinas’ philosophy

18

Ścieżki aksjologicznych rozstrzygnięć Stefana Morawskiego (cz. II)

80%

Przybysz P. J.

Estetyka i Krytyka

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2009

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nr 15-16

132-142

EN

From the very beginning of his work in the field of aesthetics, Stefan Morawski, the outstanding Polish theorist, dedicated much attention to the issue of axiological judgments. The proper subject matter of aesthetics, he postulated, is determined by the field’s characteristic axiology, which, in turn, looks to art for its empirical basis and confirmation. The second half of the article aims to reconstruct key ideas scattered around Stefan Morawski’s many publications. Issues such as evaluation criteria and the hierarchy of the works of art are discussed. The article attempts to present a critical assessment of Morawski’s theoretical

19

„Das Wunder Europa“ : Richard Nikolaus Coudenhove-Kalergi a jeho idea Pan-Evropy na stránkách Prager Presse 1921–1926

80%

Topor M.

Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

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2016

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tom 8

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nr 1

151-181

EN

The submitted article reconstructs the interactions between Richard Nikolaus Coudenhove-Kalergi as the originator of the Pan-Europe idea, and the Prague newspaper Prager Presse, during the time from August 1921 until autumn 1926. The account notes and comments not only upon Coudenhove-Kalergi writings published in the paper, but also the reviews of his books and reports on his public appearances. Thus the article traces, how the philosopher, who comes up with a particular interpretation of the situation in Europe after the World War I, becomes a leader of the international movement, a politician and a diplomat striving to gain support for a specific model of European organisation. The final section of this article deals with how the Czech translation of Coudenhove’s book Pan-Europa originated and the circumstances it was accompanied by.

20

Ciało jako ponowoczesny „projekt estetyczny”

80%

Maj A.

Estetyka i Krytyka

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2013

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nr 1(28)

83-92

EN

The article shows the ways in which the process of aesthetization of everyday life affects our perception of the human body in postmodern societies. The beauty of the body is no longer defined with reference to the objective aesthetic norms shared by all the members of the society, but it is rather defined individually. The body is shaped according to it, thus becoming an “aesthetic project”