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Mieczysław Wallis: Experience and Value

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Bokiniec M., Wallis M.
Estetika: The Central European Journal of Aesthetics
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2009
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vol. 46
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issue 1
75-96
EN
These three essays are from a collection of Mieczyslaw Wallis' (1895-1975) papers on aesthetics 'Przezycie i wartosc' (Experience and value; 1968). The first is a summary of Wallis' views on the aesthetic experience, in which, on the one hand, he distinguishes aesthetic experience from other ways of experiencing an object (such as religious or practical) and, on the other hand, he analyzes the general features that aesthetic experience shares with other experiences and considers features characteristic of aesthetic experience alone. The second essay is Wallis' classification of aesthetic objects, which according to his theory are equivalent neither to beautiful objects nor to artworks. The last sets out his position on aesthetic values, and probably constitutes his most important and original contribution to aesthetics.
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RECONSIDERING INGARDEN’S CONTRIBUTION TO EUROPEAN AESTHETICS: AESTHETIC EXPERIENCE AND THE CONCEPT OF ENCOUNTER

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Szyszkowska M. A.
ESPES
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2018
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vol. 7
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issue 1
47 – 56
EN
Entering the discussion about European aesthetic traditions, their aspirations and achievements, their metamorphosis and developments, the author argues in favour of acknowledging the importance of what in her opinion should be seen as a milestone in Polish tradition of aesthetics. One such important element of European aesthetic tradition that the author wishes to acknowledge is the phenomenological aesthetics developed by Roman Ingarden (1893-1970) in the 30-ties and especially two concepts which best show lasting power of Ingraden’s contributions. The author describes the concept of aesthetic experience used by Ingarden in his lectures on aesthetics (Ingarden, 1958-70) and its persuasive application to the field of music and literature. She suggests that its meaning deserves to be further explained and appreciated. It is argued that contemporary cognitive theories of aesthetic experience come very close to what Ingarden discovered and outlined in this writings without ever acknowledging preceding examples of complex approaches to aesthetics experience. The author suggests that one more concept from Ingarden’s aesthetics should be appreciated. It is the concept of aesthetic encounter between the author, performer and the listener/recipient that Ingarden tried to introduce as the important category for aesthetic research. These concepts where meant to be discussed and researched across different areas. Underling the differences and developments within European aesthetics in the last century author stresses the achievements and aspirations of axiological orientated aesthetic theory of Ingarden and purports to affirm its lasting contribution to the European tradition.
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