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On Nelson Goodman’s Languages of Art

100%
Kulka T.
Estetika: The Central European Journal of Aesthetics
|
2006
|
vol. 42
|
issue 1-3
52-63
EN
On the occasion of the publication of the Czech translation of 'Languages of Art' (1968) by Nelson Goodman (1906-1998) and the hundredth anniversary of his birth, the article considers the importance of this revolutionary work. It analyses its innovative approach to the philosophy of art, places its ideas in the context of contemporary Anglo-Saxon aesthetics, and describes its impact on the development of the discipline. It focuses mainly on how the book helped to overcome the lack of respect for aesthetics when the work was first published, and considers new perspectives it has offered to the semiotic approach to art. The article concludes with a brief biographical sketch of Goodman.
2
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Why Aesthetic Value Judgements Cannot Be Justified

100%
Kulka T.
Estetika: The Central European Journal of Aesthetics
|
2009
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vol. 46
|
issue 1
3-28
EN
The article is part of a longer argument, the gist of which stands in direct opposition to the claim implied by the article's title. The ambition of that larger whole is to offer a theory of art evaluation together with a theoretical model showing how aesthetic value judgements can be inter-subjectively tested and justified. Here the author therefore plays devil's advocate by citing, strengthening, and inventing arguments against the very possibility of justification or explanation of aesthetic judgements. The reason is his conviction that such arguments have not been fully met. The article is thus intended as a challenge: any theory of art evaluation which assumes, or tries to establish, that some works of art are better than others or that aesthetic judgements are not just statements expressing personal likes and dislikes, should show how such arguments can be demolished.
3
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DILEMA (NE)DEFINOVATEĽNOSTI UMENIA

88%
Makky L.
ESPES
|
2019
|
vol. 8
|
issue 1
7 – 19
EN
The current form and transformation of artistic practice in the 20th and the 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of (not only) contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, even though many theorists have tried to come up with a (normative) solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and (re)appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory.
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