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1

NADČASOVOSŤ REFLEXIÍ MARIANA VÁROSSA (K 100. VÝROČIU NARODENIA)

100%
Sedová T.
Filozofia (Philosophy)
|
2023
|
vol. 78
|
issue 1
59 – 70
EN
The essay deals with the issue of topicality of thinking, themes and approaches of one of the leading figures of Slovak culture, who could never officially work in a philosophical institution. On the occasion of the centenary of the birth of Marian Váross, the essay recounts Reflections in Solitude, which in their content and treatment transcend the time they were written in. The essay also accentuates the unifying point of departure and perspective of Váross's thought, which is the philosophy of man, philosophical anthropology, and the claim of humanity as an axiological super norm.
2

MALÁ ŠTÚDIA O FANATIZME (NA MOTÍVY VEĽKEJ ŠTÚDIE MARIANA VÁROSSA O FANATIZME)

100%
Buraj I.
Filozofia (Philosophy)
|
2014
|
vol. 69
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issue 2
143 – 153
EN
The aim of the first part of the paper is to make the reader acquainted with the selected parts of Váross’s large study of fanaticism (Le Fanatisme. Une analyse psychologique et axiologuiqe; Paris: Sorbonne 1947, 541 pp.). The second part deals with two contemporary most expanded kinds of fanaticism: political and ideological ones as two distinctive kinds of rationality. Attention is paid also to several parallels between political fanaticism and ideological fanaticism, as they are defined by M. Váross, and as conceived by H. Arendt.
3

MARIAN VÁROSS O UMELECKEJ FUNKCII

100%
Mistrík E.
Filozofia (Philosophy)
|
2014
|
vol. 69
|
issue 2
164 – 172
EN
The nature of an artwork is one of the basic topics in aesthetics. In Slovak aesthetics authors such as M. Kusý, J. Volek and S. Štúr defined an artwork only through its relation to reality, i.e. as derived from reality. M. Váross tried to define it via category “artistic function.” From 1949 to 1970 he saw the aesthetic function as dominating the creative process in art. In the 1980s he described creative process in art as the highest stage of aesthetic activity. The aesthetic function was not dominating any more, but the artefact was enriched with artistic function. The reason for introducing artistic function was to make the artefact an ontologically independent reality. Similar solutions could be find within the axiological tradition of Slovak aesthetics (B. Brožík, T. Kuklinková, I. Hrušovský), brought to life by M. Váross. Still, M. Váross was the only one, who did not see an artwork as derived from reality, but rather as an autonomous reality. No matter how Europocentric his solution was, it was an original theoretical accomplishment of Slovak aesthetics of that time.
4

VÁROSSOVE POHĽADY NA FILOZOFIU – POKUS O REKONŠTRUKCIU

88%
Sedová T.
Filozofia (Philosophy)
|
2014
|
vol. 69
|
issue 2
173 – 177
EN
The paper explores Váross’s understanding of philosophy, his philosophical stand, undoubtedly influenced by Popper’s critical realism, as well as Váross’s critique of Marxist dialectic and the unity of psychology and philosophy which is inherent in all his works. Váross’s axiology as the main focus of the author is seen as relevant not only for theory, but also for applied disciplines, such as ethics, aesthetics, theory and critique of visual arts.
5

VÁROSSOV POJEM UMELECKÉHO OBRAZU VO SVELTE SÚČASNÝCH VIED O OBRAZE

75%
Gerát I.
Filozofia (Philosophy)
|
2014
|
vol. 69
|
issue 2
154 – 163
EN
Artistic image is one of the central concepts of Váross’s posthumously published writings titled From creativity to creation (Bratislava 1989). Contrary to most common users of language in Váross the concept was to denote the concretization of an artwork in the percipient’s consciousness. The paper aims at a closer analysis of Váross’s definition of the concept in question, bringing the related citations and showing its place within a wider context of Váross’s theory of art. Further, it unveils some connections between his definition of artistic image and the key issues of the theory of image as reflected in contemporary image sciences (iconology, Bildwisseschaften).
6

MARIAN VÁROSS V KONTEXTE SLOVENSKEJ PSYCHOLÓGIE

75%
Ruisel I.
Filozofia (Philosophy)
|
2014
|
vol. 69
|
issue 2
131 – 142
EN
Marian Váross significantly contributed to the institutionalization of psychology in Slovakia. As a result of an intensive study of values and kinds of evaluation at the universities in Paris and Cambridge he formulated a system of knowledge, which even today is still the original base in the field. According to him, theories of values can be divided into three groups: objectivist, subjectivist, and dialectical theories. To underline is also Váross’s including values into a wider psychological context, especially with regard to personality, attitudes, norms, and ideals of the individual.
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