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THROUGH COMMUNICATION TO THE COMMUNITY: THE POLITICAL IMPLICATIONS OF MARTIN BUBER’S PHILOSOPHY OF ART

100%
Motal J.
Filozofia (Philosophy)
|
2023
|
vol. 78
|
issue 7
564 – 577
EN
This article explores Buber’s philosophy of art, correlating it with his early emphasis on individual realization, as well as his dialogical philosophy as articulated in I and Thou and in his theopolitical perspectives. The study posits that Buber perceives artistic creation as a conduit for communication with noumenal reality, mirroring the structure of interpersonal dialogue. Consequently, artistic creation is proposed as a blueprint for fostering an organic community or building the divine kingdom on Earth. The article integrates Adir Cohen’s examination of Buber’s aesthetics and Samuel Brody’s theopolitical analysis, aiming to interweave these perspectives in a comprehensive interpretation of Buber’s philosophy of art.
2
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ESSAY ON THE CONCEPT OF ART AND REALITY

100%
Gyenge Z.
ESPES
|
2021
|
vol. 10
|
issue 1
32 – 41
EN
Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavoured to form, yet did not bring about” (Schopenhauer, 1969, pp. 186-187). For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature” (ibid., p. 187), but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. (Ruskin, 2006, p. 42) This paper seeks a possible answer to the question of how art ties us to reality.
3
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KONCEPT FILOZOFIE UMENIA A ESTETIKY UMENIA S. K. LANGEROVEJ

88%
Sošková J.
ESPES
|
2015
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vol. 4
|
issue 2
85 – 92
EN
Based on analyse of S. K. Langer ́s work, the author points out to her philosophical thinking principles that became the basis of her art concept. This American woman philosopher forms one of the American aesthetics posts. The author is going to depict the connections between Langer ́s philosophy of art and her „aesthetics of art“, being conceptually completed by her students, e. g. N. Goodman, A. C. Danto and others. The author is also going to pay a special attention to Langer ́s understanding of meaning in comparison with E. Cassirer, L. Wittgenstein, Ch. S. Peirce and A. N. Whitehead, who formed the theoretical background of her considerations. Towards the end itself, the author is going to show the possibilities of Langer ́s aesthetics applied on the 20th century art.
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