Wyniki wyszukiwania - Biblioteka Nauki

1

Pavel Zahrádka (ed.): Estetika na přelomu milénia

100%

Ciporanov D.

Filosofický časopis (Philosophical Journal)

|

2014

|

tom 62

|

nr 2

237-263

EN

Pavel Zahrádka’s anthology offers a choice of translated studies in aesthetics and provides (and to a certain extent also, naturally, creates) a picture of the contemporary state of such studies based on the character of interdisciplinary work. The collection, which is gathered into nine thematic sections, covers such key themes as philosophical aesthetics and questions of the recently instituted (copyright as a philosophical-aesthetic problem) or the resurrected (the aesthetics of nature). It presents a rich palette of approaches, methods and themes which makes up the field of contemporary aesthetic research. This review study offers a commentary on the overall concept of the collection in the context of analogous foreign publications and gives a résumé of individual thematic sections, while it focuses in detail on select parts of the anthology, which represent a relatively contemporary understanding of the traditional key problems of general aesthetics (ontology, definition and the value of art).

2

Why We Need a Theory of Art

88%

Monseré A.

Estetika: The Central European Journal of Aesthetics

|

2016

|

tom 53 (New Series: 9)

|

nr 2

165-183

EN

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art.

3

Koncepcja aury immanentnej

88%

Rudnicki C.

Estetyka i Krytyka

|

2013

|

nr 3(30)

99-116

XX

This article is devoted to the concept of „immanent aura.” In the first, historico-philosophical part, I discuss the theory of art presented by Gilles Deleuze and Felix Guattari in the work What is Philosophy? In the second part, using concepts taken from these philosophers, I analyze selected works, included in the entertainment culture (inter alia black and viking metal music as well as computer games). I try to demonstrate that they can be considered as works of art, because they meet the requirements imposed by Deleuze and Guattari. In the last part I argue with the Benjamin’s concept of “aura” of the work of art, to show that mass reproducibility and availability does not lead to the disappearance of the aura but its transformation: from transcendent the aura becomes immanent.

4

Karol Kuzmány: On Beauty

75%

Sošková J.

Estetika: The Central European Journal of Aesthetics

|

2010

|

tom 47

|

nr 2

215-238

EN

This short essay by Karol Kuzmány (1806–1866), a founding father of Slovak aesthetic thinking, was written in Czech and published in 1836 in Hronka, a periodical edited by the author. In the essay, Kuzmány follows on from the thinking of his teacher at Jena, Jakob Friedrich Fries (1773–1843), particularly Fries’s theory of Ahn(d)ung (intuitive awareness). In the introduction, Kuzmány emphasizes that his concern is to bridge the gap between the theory of imitation and the theory of art based on imagination. In the first part of the essay, concerning general aesthetics, Kuzmány presents his theory of beauty – the feeling of the essence of things through perception by the mind (Anschauung or intuitus mentis); the basic idea – truth, the moral good, and beauty – according to Kuzmány, comprises the idea of religion in the broader sense – Humanität, humanitas. Rather than the opposite of beauty, the sublime constitutes beauty’s being raised to a qualitatively higher level: it is based on a contemplated intuitive awareness, which is itself felt. The second part of the essay consists of Kuzmány’s attempt to define art and to categorize kinds of art and genres of poetry. He distinguishes between unmediated art, which represents beauty to the external senses, and mediated art, which is aimed at inner feeling. The latter category includes poetry, which is, according to him, the supreme art, for it can, with the help of language, represent all forms of unmediated art as well. Kuzmány also devotes himself to a speculative justification of its genres, poetic style, and verse.

5

"Czysta widzialność" w estetyce formalnej Konrada Fiedlera

63%

Kaźmierczak M. , Warszawski U.

|

2017

|

tom 39 (4)

EN

Nowadays still not well known, Konrad Fiedler was an extremely original philosopher of art and an inspiring follower of Kant. He created a theory of art’s autonomy and his pioneering thought contributed not only to the formalist theory of art but also and foremost to creating an epistemology that later became a foundation of theories of art stressing the uniqueness of seeing and raising the status of visual representations. The artistic way of seeing, according to him, undiscloses the principles of how the world emerges from nothingness of chaotic sensations – it is the way of seeing that presents „pure visibility”. According to Fiedler, this way of seeing is the basis of each true artistic creative act.

6

The Beginnings of Art History and Connoisseurship Studies in Ancient China

63%

Łakomska B.

Roczniki Humanistyczne

|

2014

|

tom 62

|

nr 9: Sinologia

103-120

EN

Artykuł przedstawia historię kształtowania się myśli o sztuce i antykach w dawnych Chinach, począwszy od czasów dynastii Wei i Jin po wczesny okres dynastii Song. Celem niniejszego tekstu jest prezentacja zarówno teoretycznych koncepcji na temat malarstwa i kaligrafii pisanych przez artystów i uczonych-urzędników w różnych okresach, jak również przedstawienie rodzącego się zainteresowania zabytkoznawstwem. Artykuł pokazuje, w jaki sposób studia nad teorią sztuki ulegały zmianie, osiągając większy stopień dojrzałości w połowie IX wieku n.e., tj. w momencie, kiedy Zhang Yanyuan napisał „Rejestr Słynnych Malarzy wszystkich Dynastii”, dając tym samym asumpt do kolejnych studiów nad sztuką.

7

Sztuka gier wideo. Wybrane aspekty badań nad estetycznością i artyzmem gier komputerowych

63%

Strużyna A.

Homo Ludens

|

2015

|

nr 1(7)

213-226

PL

Autor podejmuje problematykę różnorodności stanowisk krytycznych w badaniach nad estetycznością i artyzmem gier wideo (stanowiska te są częścią pluralistycznego dyskursu nad sztuką gier komputerowych). W artykule zestawione zostają sądy i teorie reprezentujące różne sposoby traktowania kategorii estetyczności i artyzmu gier wideo, ze szczególnym uwzględnieniem argumentów negujących i aprobujących istnienie sztuki gier komputerowych. Obok zarysu genezy artystycznych gier wideo podejmowana jest refleksja nad teorią badań sztuki gier komputerowych w odniesieniu do teorii sztuki Ryszarda W. Kluszczyńskiego oraz Josepha Margolisa.

EN

The article deals with the diversity of critical attitudes in the study of the aestheticism and artistry of video games (the attitudes in question form part of the pluralist discourse on video game art). The paper juxtaposes judgments and theories that represent various ways of treating the categories of the aestheticism and artistry of video games, with a particular focus on arguments denying and affirming the existence of the art of video games. Besides providing an outline of the origin of art video games, the author also undertakes to reflect on the research theory of video game art in relation to the theory of new media art by Ryszard W. Kluszczyński and the theory of art by Joseph Margolis.

8

Myśli, zmysły i emocje. Próba dyskursu o syntezie sztuk i jej percepcji

63%

Solewski R.

Estetyka i Krytyka

|

2010

|

nr 17-18

61-79

EN

After defining the term synthesis and possible use of this word in the theory of art, the author concentrates on various visions of the „Community of Arts”. Description of the philosophical conception of the primeval syncretistic culture, destroyed by – among the others – partition of art into selected domains introduces the ideas to reconstruct universal art especially in the theatre (e.g. Richard Wagner, theatre reformers at the beginning of the 20th century, happening). Afterwards the author demonstrates the basic artistic elements uniting arts and proper to investigate the synthesis of arts phenomenon. Concentration on an artist, turns the attention not only to multitalented creators but also to a problem of the different or similar ways of expression in various domains (e.g. poetry and painting), as well as to the issue of a „creative impulse”. The artwork constructed in a chosen place and specific time, in one style and with one iconographic program, is the most visible base of the synthesis (e.g. in architecture and applied arts, understood as the cooperation of artists or in the contemporary, transgressive and multimedia installation). The situation indicates also the elementary aesthetic problems of the most common determinant of artistic character of the work and the role of the reception and interpretation by the recipient. This element of an artistic process reminds about the role of the aesthetic experience as the final „common place” of every artistic activity (e. g. represented in the romantic considerations on synaesthesia, in the issue titled „ut pictura poesis” or in the „fusion of horizons” conception). Finally, the author stresses the role of recipient’s intellectual activity and cognition as the necessary element and the proper space of the synthesis of arts. The text ends with the reflection about the advantages of the investigations of the synthesis problems for the general questions concerning the art.

9

Analiza krytyczna podstaw teorii wielości rzeczywistości Leona Chwistka

63%

Bednarz G.

Estetyka i Krytyka

|

2017

|

nr 1(44)

25-38

EN

The aim of the article is to present a few criticisms of the foundations of Leon Chwistek’s philosophy. Completeness postulate, imposed on all correct philosophical systems by Chwistek, and which is supposed to be in conflict with conventionalism, is criticised. Correctness of some Chwistek’s axioms is called into question. Axioms for six intermediate realities are given. I argue in favour of model theory interpretation of manifold reality.

10

Artysta w koncepcji Jana Pawła II w Liście do artystów

44%

Tytko M. M.

Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education

|

2013

|

nr 2(2)

117-142

PL

Tekst ukazuje koncepcję człowieka artysty w twórczości papieża Jana Pawła II. Artykuł jest tekstem opartym o źródła. Głównym źródłami jego myśli na temat artysty są dla nas dwa teksty: tzw. „Ewangelia a sztuka” i tzw. „List do artystów”. Inne teksty Jana Pawła II są tylko dopełnieniem (uzupełnieniem) dla tych dwóch głównych tekstów źródłowych. Autor artykułu analizuje idee (koncepcje) człowieka-artysty w Liście do artystów, specjalnie w kontekście ogólnej koncepcji (ogólnego zarysu) kultury w opisach dokonanych przez Jana Pawła II (to jest nowością w tekście). W artykule znajdują się bardzo ważne cytaty (cytowania) z jego oryginalnego polskiego tekstu. Autor użył historiograficznej metody w swoim studium.

EN

The text shows the idea of an artist in creativity according to Bl. John Paul II. This article is a source-based text. Main sources of his thought about an artist are for us two texts: so called „Ewangelia a sztuka” (“Gospel and Art”) and so called “The letter to artists”. Another texts of John Paul II are only complement (supplement) for this two mainly sourced texts. An author of this article analyses ideas of a man – an artist, especially in the context of general outline of culture in descriptions done by John Paul II (this is novelty in this text). There are some very important quotations (citations) from his original Polish texts in the article. The author used historiographical method in his study.