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100%
ESPES
|
2017
|
vol. 6
|
issue 2
72 – 78
EN
Arnold Berleant shares much in common with John Dewey. His notion of aesthetic engagement, which is central to his philosophy of art, is, like Dewey’s concept of “an experience,” an attack on dualistic notions of aesthetic experience. To the extent that Berleant and I are both Deweyans, we agree that we need to turn from the art object to art experience. Art is what it does in experience. Yet appreciative experience of art cannot happen without, at some point, focusing on the art object and this means bracketing context. Engagement is important, but so too are contemplation, disinterestedness and distance. Contemplation, for example, is a moment both in the creative process and in the process of appreciation. Moreover, following Brand and Gracyk, it will be argued in the present paper that only through toggling between contemplation and engagement can we obtain a full experience of art, nature, or of the everyday.
EN
The paper provides a focused account of John Dewey's philosophy centred on his metaphysics of experience and theory of inquiry as the gist of his contribution. Also other important aspects of his unprecedented work, such as instrumentalism, philosophy of education, theory of democracy, are given attention. The intention of the author is to present Dewey's conception of philosophy as a reflection of experience too. In conclusion the author points to the relevance of Dewey's philosophy today.
EN
At the beginning the author tries to specify the place to which Rorty belongs in the tradition of American pragmatism, where the towering figure was John Dewey. Then he goes on to present Rorty's main ideas about education in two contexts. He discusses Rorty's contribution to the debate on the condition of American schools and the philosophy of teaching that dominated in the US at the time, and here Rorty's response to criticisms made by E.D. Hirsch and A. Bloom are particularly important. Secondly, he tries to make clear what was the role of specific proposals that Rorty offered as part of the program based on neopragmatic principles.
4
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PRAGMATISTS ON THE EVERYDAY AESTHETIC EXPERIENCE

75%
ESPES
|
2020
|
vol. 9
|
issue 2
66 – 74
EN
Although the first ‘pragmatist aesthetics’ was devised by John Dewey in his Art as Experience (1934), Richard Shusterman has been the only scholar to use the notion of “pragmatist aesthetics” in his Pragmatist Aesthetics (1992). In this paper, I show that Dewey already refuses the gap between the practices of the ‘art world’ and that of everyday life. In Art as Experience, he criticizes the ‘museum conception’ of art to argue that some aesthetic experiences in our daily life have the same essential structure as the experience of art. While Rorty has revised Dewey’s basic premises, Shusterman has rather restated them. Since the end of the 1980s, he has started developing his own philosophical project, named ‘somaesthetics’. Shusterman’s somaesthetics does not simply incorporate many Deweyan views, but also develops them further. Accepting a Deweyan framework, Shusterman rejects the sharp dualism of the so-called “lower and higher levels of art”. What is more, he considers philosophy as an art of the living, embracing in somaesthetics the ancient Greek and Asian traditions.
Filozofia (Philosophy)
|
2012
|
vol. 67
|
issue 1
26 – 34
EN
The paper provides an account of the pragmatist philosophical conception of „panrelationism“ as the basis of the ethical theories of altruism and reciprocity. The author maintains that ethics is deeply rooted in ontology (metaphysics). The Deweyan concept of the transaction is outlined as well. The author attempts to show that altruism is not necessarily only reciprocal. It demands as its supplement (at least) altruism without reciprocation.
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