Wyniki wyszukiwania - Biblioteka Nauki

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Koncepcja geniusza w rozważaniach estetycznych Immanuela Kanta i Artura Schopenhauera

100%

Woszczyńska J.

Filo-Sofija

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2004

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tom 4

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nr 4

65-71

EN

The article compares concepts of genius in esthetic reflections of Immanuel Kant and Arthur Schopenhauer. According to Kant’s views included mainly in Critique of Judgment a brilliant man creates work of arts inspired by the nature. In Schopenhauer philosophy, though, nature and perception do not play such important role in creation. More crucial is human being and his imagination. A genius creates each of his work from the beginning. The most perfect of them are created through inspiration. They emerge without intention or contemplation. Genius, according to Schopenhauer, does not seek inspiration as it come to him itself.

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Ludzkie życie według Artura Schopenhauera

100%

Kruszyńska S.

Filo-Sofija

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2005

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tom 5

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nr 5

159-172

EN

In the paper there are presented three realms that can be distinguished in Arthur Schopenhauer’s philosophical anthropology, realms in which human life proceeds. These are: the realm of nature, the realm of rationality and the realm of morality. In each of them there are possible two ways of existence, which the author calls respectively „normality” and „non-normality”. „Normality” and „non-normality” are collective notions, the former referring to ordinary life, devoid of metaphysical dimension and the latter to life that exceeds the phenomenal character of empirical reality. In characteristics of life called non-normality the author shows an optimistic trait of Schopenhauer’s philosophy of a human being.

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ŽIVOTASCHOPNOSŤ JEDNÉHO PRÍSTUPU. POZNÁMKY KU KANTOVSKEJ LÍNII INTERPRETÁCIE KATEGÓRIE VZNEŠENÉHO (POKRAČOVANIE)

88%

Kvokačka A.

ESPES

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2013

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tom 2

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nr 1

20 – 26

EN

To elaborate the intention of previous contribution, this paper opens again the problem of reception of Kant's definition of the category sublime. Variations which perform Schopenhauer, Nietzsche and Adorno represent some innovative approaches. Bridging the history of this aesthetic category in the 20th century in theirs thinking, represents functionality of the sublime, which we observe through the transformations in artistic and aesthetic discourse and which encourages us to contemporary revaluation of this concept.

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O NEVYSLOVITEĽNOM V UMENÍ (KANT – SCHOPENHAUER – WITTGENSTEIN)

88%

Haško Š.

ESPES

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2013

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tom 2

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nr 1

27 – 35

EN

The work sets its goal in an attempt to name the possible relationship in Kant’s, Schopenhauer’s and Wittgenstein’s thoughts about art. The notion less character of the ’idea‘ of an art piece, outlined by Kant’s and Schopenhauer’s aesthetic theory, will be studied in the context of Wittgenstein’s points of view on the question of meaning or interpretation of art pieces. On the theme level, the chosen study can be titled as an analysis of thoughts of the alleged thinkers, these then offer reasons of silence when being ’in front of‘ an art piece. In the second part I turn my attention mainly to some of the connections concerning Wittgenstein’s thoughts and personal experience, which explain in broader context his silence, i.e. the mystical dimension of his philosophy.

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FROM PESSIMISM TO HOPE. LOVE IN ARTHUR SCHOPENHAUER AND SIGMUND FREUD'S GRASP

88%

Smolorz P.

Archeus. Studia z bioetyki i antropologii filozoficznej

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2008

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nr 9

95-106

EN

The article presents two grasps of love - in Schopenhauer's pessimistic philosophy and Freud's psychoanalysis. A similarity between Schopenhauer's metaphysics and Freud's psychoanalysis is shown. Schopenhauer's 'will' and Freud's 'id' are almost the same, though grasped in two different manners. Just like 'id', ' will' becomes the source of misfortune, and culture with its ethical values (particularly love) can become remedy for evil and suffering. Separating 'eros' from 'agape', Schopenhauer placed sexual love as a handmaid to 'will' and considered it the source of human suffering. In this understanding, love of one's neighbor becomes liberation from suffering, but it is a seeming consolation, as such love is in fact a concealed egoism. Introducing the notion of sublimation, Freud made a passage between 'eros' and 'agape'. Love, wherever its source, in Freud's grasp assures security and thus gives happiness which is the final purpose of everyone.

6

SÚHVEZDIE NA OBLOHE FILOZOFIE TRAGÉDIE: SCHOPENHAUER, WAGNER A NIETZSCHE

88%

Nezník P.

Filozofia (Philosophy)

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2023

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tom 78

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nr 8

649 – 663

EN

Through the texts of philosophers and philosophizing artists, musicians and writers, the study opens up the problem of the relationship between philosophy and art, science and philosophy, using atypical ways of inquiring about life, man and his times, not only through reason, but also through the heart. An important moment in the search for intersections and connections is the history – the topos of that which was – as captured in the works, correspondence and conversations of selected giants of European culture. The intention of the study is to highlight the fact that behind an artistic, philosophical or scientific work, which we may nowadays already consider as a classic, an unproblematic “thing at our disposal,” there is often hidden a life experience of a tragic existence. And even in turbulent times of crises, it is important to remember, as Ortega y Gasset reminds us, that to lose illusions is not to lose hope.

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BOH A POZNANIE VO SVETLE FAUSTOVHO VOLUNTARIZMU

75%

Čakanek J.

ESPES

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2014

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tom 3

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nr 2

4 – 13

EN

The author of the contribution discloses against a religious backdrop overriding motifs and aims of Faustus ́unbridled voluntarism. His driving force seems to be, in compliance with Schopenhauer ́s theory, human intellect. The overriding motif lies in his vision of being Almighty, which is reflected in his craving to be god-like. The human will oscillates in the space between a fallacious idea about the status of a deity and limitations of the academic knowledge. On a broader level, the author shows that the Faustian voluntarism affects not only Goethe ́s literary character but also man of the 21st century more than ever.