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Spor o diletantismus a jeho podoba v literatuře české dekadence

100%
Stanek J.
Estetika: The Central European Journal of Aesthetics
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2007
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vol. 44
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issue 1-4
85-106
EN
The article concentrates on a key concept of the 'Fin de Siecle' in Europe - namely, 'dilettantism' and its connection with Czech Decadent literature. Dilettantism, as explained by Paul Bourget in his essay on Ernest Renan (1883), is characterized by the individual's refusal to forego any possible experience by adhering to a setmode of (intellectual) life. The 'dilettante critic' originates in the idea of the 'critic as artist' as developed by Oscar Wilde, who in turn is indebted to Pater's conception of the 'aesthetic critic'. In dilettantism there are many pitfalls: the dilettante may be the perfect embodiment of the 'Decadent' type with his Willenskrankheit, hypertrophied (self-)analysis, over-refinement, hyper-aestheticism, eclecticism, and sterility. Arnost Prochazka (1869-1925), for instance, applies the term 'dilettante' to Andrea Sperelli (the hero of Dilettantism), modelled on Huysmans's 'Des Esseintes'. The controversies over Dilettantism appear here as an expression of an exclusive concern with 'life', a concept that a cornerstone of philosophical debate of the period.
2

KIERKEGAARD, PHILOSOPHY, AND AESTHETICISM

88%
Turnbull J.
Filozofia (Philosophy)
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2013
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vol. 68
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issue 1
50 – 61
EN
Beginning with a consideration of one of the central methodological issues in contemporary Kierkegaard scholarship, this paper goes on to suggest that the tradition of reading Kierkegaard as a philosopher, or in the terms of philosophy, is a tradition of aestheticism. Calling upon the distinguishing features of the aesthete found in the work of Anthony Rudd and Patrick Stokes, the author argues that the tradition of reading Kierkegaard as a philosopher has these same features; and so can be said to be a tradition of aestheticism. The paper goes on to make this case in detail with respect to Rudd’s book Kierkegaard and the Limits of the Ethical and Stokes’ Kierkegaard’s Mirrors.
3

SCHILLER/NIETZSCHE: MODERNITY, CULTURE, HISTORIOSOPHY (Schiller/Nietzsche: nowoczesnosc, kultura, historiozofia)

75%
Pieniazek P.
Przegląd Filozoficzno-Literacki
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2010
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vol. 9
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issue 3(28)
147-170
EN
The article attempts to show the links between Schiller's thought and Nietzsche's philosophy. In the first part it presents the influence of Schiller's historiosophy on Nietzsche's view of modernity and his critical diagnosis of modernity (the problem of cultural duality of modernity, of nihilism). In the second part it shows the influence of Schiller's thought on shaping a positive project of Nietzsche's philosophy (the idea of creative unity of man's existence, aestheticism).
4
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SZTUKA ZAANGAŻOWANA ARTURA ŻMIJEWSKIEGO

75%
Tryka B.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
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vol. 21
124-152
EN
‘INVOLVED ART’ BY ARTUR ŻMIJEWSKI Tryka describes a relationship between Artur Żmijewski’s artistic practice and his theoretical deliberations on involved art. Żmijewski’s conception of art, expressed in a manifesto Applied Social Arts, is discussed in the context of aesthetical conception of art. Tryka starts with the description of his artistic manifesto entitled ‘Applied social arts’, which is one of most influential voice in the debate on the role of involved art in contemporary culture in Poland. Theoretical questions from the manifesto connected with the metaphor of art as algorithm, the alienation of art and possibilities of its overcoming fill the first paragraphs of the paper. In the second part, Tryka described two projects by Żmijewski entiltled ‘Democracies’ and sculptural plain-air entitled ‘Memories of Celulose’. She compared them with Żmijewski’s ideas and interpreted them in philosophical context. Żmijewski believed that the value of art cannot be measured in the context of aesthetics but only in the context of its ability to influence social and political events. He considered art as social tool which could be used to studying and forming social relations. Moreover, artists should contribute to people’s involvement in artistic activities, and in forming people’s worldviews. They should be able to develop and explore creative potential of people who aren’t yet interested in art and they should be able to properly evaluate cooperation between people.
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