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Johann Heinrich Dambeck’s Prague University Lectures on Aesthetics: An Unknown Chapter in the History of Anthropological Aesthetics

100%
Hlobil T.
Estetika: The Central European Journal of Aesthetics
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2013
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vol. 50
|
issue 2
212-232
EN
This article presents a summary of the main views in Dambeck’s lectures on aesthetics on the basis of all known sources and compares the views thus obtained with views developed in German aesthetics in the late eighteenth and the early nineteenth century, with the aim of finding their chief source and reintegrating them both into German aesthetics and, more narrowly, into the aesthetics taught at Prague University. Johann Heinrich Dambeck constructed his lecture series on the plan of Zschokke’s textbook Ideen zur psychologischen Aesthetik (1793) which has never been taken into account in any other research on his lectures. The close link between Dambeck’s lectures and this textbook compels us to revise the current understanding of the nature of their ideas. Dambeck has so far been most often unproblematically presented as an adherent and disseminator of Kant’s and Schiller’s ideas about aesthetics in the Bohemian Lands. The key textbook on which he bases his university lecture series is, however, intentionally un-Kantian. Zschokke’s Ideen is part of the psychological-anthropological stream of Late-Enlightenment German aesthetics.
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Bernard Bolzano: On the Concept of the Beautiful - A Philosophical Essay

100%
Livingston P.
Estetika: The Central European Journal of Aesthetics
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2015
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vol. 52
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issue 2
203-267
EN
An introduction to an English translation of Bernad Bolzano´s On the Concept of the Beautiful. A neglected gem in the history of aesthetics, Bolzano’s essay on beauty is best understood when read alongside his other writings and philosophical sources. This introduction is designed to contribute to such a reading. In Part I, I identify and discuss three salient ways in which Bolzano’s account can be misunderstood. As a lack of familiarity with Bolzano’s background assumptions is one source of these misunderstandings, in Part II, I elucidate some of his ideas about the psychological processes involved in the contemplation and enjoyment of beauty. In Part III, I situate Bolzano’s discussion of beauty within the more general framework of his ideas about the nature of philosophy, the relation between philosophy and aesthetics, and the place of the concept of beauty within the latter. Part IV is devoted to Bolzano’s discussion of some of his philosophical antecedents, including Kant. In Part V, I raise some objections to Bolzano’s account and indicate how his advocates might respond to them.
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Artistic proofs : a Kantian approach to aesthetics in mathematics

100%
Wang W.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 2
223-243
EN
This paper explores the nature of mathematical beauty from a Kantian perspective. According to Kant’s Critique of the Power of Judgment, satisfaction in beauty is subjective and non-conceptual, yet a proof can be beautiful even though it relies on concepts. I propose that, much like art creation, the formulation and study of a complex demonstration involves multiple and progressive interactions between the freely original imagination and taste (that is, the aesthetic power of judgement). Such a proof is artistic insofar as it is guided by beauty, namely, the mere feeling about the imagination’s free lawfulness. The beauty in a proof’s process and the perfection in its completion together facilitate a transition from subjective to objective purposiveness, a transition that Kant himself does not address in the third Critique.
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Cognitive interpretation of Kant’s theory of aesthetic ideas

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Kuplen M.
Estetika: The Central European Journal of Aesthetics
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2019
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vol. 56_(New_Series_12)
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issue 1
EN
The aim of my paper is to argue that Kant’s aesthetic ideas can help us to overcome cognitive limitations that we often experience in our attempts to articulate the meaning of abstract concepts. I claim that aesthetic ideas, as expressed in works of art, have a cognitive dimension in that they reveal the introspective, emotional, and affective aspects that appear to be central to the content of abstract phenomena.
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Active Passivity: On the Aesthetic Variant of Freedom

88%
Seel M.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
269-282
EN
‘Being with oneself in the other’ is a well-known formula that Hegel uses to characterize the basic relation of subjective freedom. This phrase points to the fact that subjects can only come to themselves if they remain capable of going beyond themselves. This motif also plays a significant role in Hegel’s philosophy of art. The article further develops this motif by exploring the extent to which this polarity of selfhood and otherhood is also characteristic of states of aesthetic freedom. It does not offer an exegesis of Hegel’s writings, but attempts to remain as close as possible to the spirit of Hegel’s philosophy – with some help from Kant and Adorno. The argument begins with some key terms on the general state of subjective freedom in order to distinguish it from the particular role of aesthetic freedom and then, finally, drawing again on Hegel, works out the sense in which aesthetic freedom represents an important variant of freedom.
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Method and Metaphysics in the Philosophy of Art

75%
Gardner S.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
230-254
EN
This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue (1) that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, (2) that it is vulnerable to the challenge of scientific naturalism, and (3) that a case for the necessity of metaphysics in aesthetics and the philosophy of art can be made on the grounds of the constitutive opacity of art and the aesthetic from the standpoint of ordinary consciousness. The analytic reception of Kant’s aesthetic theory, I argue, supports this conclusion.
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Pojęcie osoby – jedno czy wiele?

71%
Zyzik R.
Racjonalia. Z punktu widzenia humanistyki
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2012
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vol. 2
EN
The paper posits the thesis that there is more than one concept of the person. Depending on the discipline where it appears, there are legal, neurobiological, philosophical and theological concepts of the person. The concept of the person can be analyzed from four different perspectives. The results suggests that each discipline has its own definition of the person with specific meaning and function.
PL
The paper posits the thesis that there is more than one concept of the person. Depending on the discipline where it appears, there are legal, neurobiological, philosophical and theological concepts of the person.The concept of the person can be analyzed from four different perspectives. The results suggests that each discipline has its own definition of the person with specific meaning and function.
8
Content available remote

Aesthetic Insight: The Aesthetic Value of Damaged Environments

63%
Alcaraz L., María J.
Estetika: The Central European Journal of Aesthetics
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2013
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vol. 50
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issue 2
169-187
EN
In this article I start by assuming that positive aesthetic experiences of damaged nature are possible and I argue for the idea that the aesthetic pleasure derived from that contemplation might reveal something of the environment’s overall character. I hope to show that positive aesthetic experiences sometimes help to promote emotional attitudes that can lead to insight into the configuration of other non-aesthetic attitudes. In order to do so, I critically appeal to some of the thoughts Kant articulated about the notion of aesthetic experience and its relationship to cognition and morality. I think that the sort of experience I am after in this article cannot be easily accommodated within a Kantian framework and that the possibility of positive aesthetic experience of damaged nature will show that the relationships between the aesthetic and the cognitive or the moral are more complex and enriching than they have so far been acknowledged to be.
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