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TRANSCENDENTÁLNA FUNKCIA UMENIA V HUSSERLOVSKEJ FENOMENOLÓGII

100%
Lipták M.
Filozofia (Philosophy)
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2013
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vol. 68
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issue 9
779 – 789
EN
In the paper the anticipation of the transcendental function of art and artistic production in the phenomenological system of Edmund Husserl is under scrutiny. Despite the strong links between art and Husserl’s phenomenology, explicitly Husserl himself never considered art as having philosophical significance for his system. Thus I start by describing the way in which the “principle of art” closes up another transcendental system – that of Immanuel Kant. Then the author proceeds to show the close parallels between Kant’s reasoning in transcendental deduction and Husserl’s genetic analyses. He continues by analysing the possible reasons why Husserl has not applied the “principle of art” in the way Kant did and then he looks for possible places of application of this principle in Husserl’s phenomenology. Finally the author shows how Husserl actually prepared the ground for such application for the further generation of phenomenologists.
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Roman Ingarden’s Problems with Avant-garde Music

100%
Lipták M.
Estetika: The Central European Journal of Aesthetics
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2013
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vol. 50
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issue 2
187-206
EN
Roman Ingarden’s theory of the musical work is usually criticized for not being able to handle the problems of avant-garde music. The most important reason for this criticism is its dependence on the musical score and, generally, on the conventions of pre-twentieth century European classical music. In my article I offer a revision of Ingarden’s theory, which on the one hand leaves its substantial arguments intact and on the other allows the theory to tackle the problem of avant-garde music successfully. I ultimately hope to demonstrate that this revised theory is suitable for dealing with the problem, and can yield fruit when applied.
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