Search results - CEJSH

1

Estetika A. G. Baumgartena

100%

Novotná-Březovská B.

Filosofický časopis (Philosophical Journal)

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2008

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vol. 56

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issue 5

669-685

EN

This article is the result of the author’s inquiry into the work of the eighteenth century German philosopher and aestheticist Alexander Gottlieb Baumgarten. We are not concerned here so much with his key, though fragmentary, work Aesthetica, rather we seek to map the writings that led up to that work and which formed it. The periods prior to the publication of Aesthetica are covered by four texts in which the author discovers and defines the basic thoughts of “the new science of aesthetics”. Baumgarten’s theory of aesthetics is founded on Leibniz’s system of the monads, which are distinguished by the different clarity of their ideas. Baumgarten’s starting point is that ideas are the result of the epistemic power of our soul, and they are therefore crucial in any understanding of the character of knowledge in general. On the basis of a defining of the group of so-called lower epistemic powers of the soul (where, in addition to sense, there is for example to be found the poetic ability, or imagination) aesthetics arises. Baumgarten asserts (and he does so precisely in these pre-aesthetic writings) that sensory knowledge is analogical with the principles of rational knowledge. Here he is dealing with aesthetics connected not so much with the sphere of art, but rather with the very fundaments of human perception and knowing. He is concerned with aesthetics as a science.

2

Nature-related experience. Response to the questionnaire concerning human experience associated with nature

100%

Elzenbeg H.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 1

21-32

EN

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3

Malowanie filozofii. Drzeworyty Arthura C. Danto

80%

Bogusz-Bołtuć E. D.

Estetyka i Krytyka

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2011

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issue 2(21)

25-44

EN

This essay is intended to remind of, or rather to extract from oblivion, art, which was last displayed fifty years ago, in 1960, in New York. Arthur C. Danto before he became a philosopher was first and foremost an artist. He created black and white woodcuts, in which he managed to combine two different traditions of imaging German Expressionism and the New York school of Action Painting. This art is valuable not only because it belongs to the achievements of one of the most respected contemporary philosophers of art and art critics. Danto's artistic oeuvre is an excellent example of painterly woodcuts, balancing on the border of figurative and abstract. Also, an important, so far ignored fact, is that this artistic experience had a significant effect on the formation of Arthur C. Danto philosophical theories. So Baroque Figure, Elder, and other prints by Danto, preceded and prepared an innovative interpretation of Warhol's Brillo Boxes.

4

Some remarks on plant art

80%

Zeidler-Janiszewska A.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 2-3

21-25

EN

The author analyzes artistic practices associated with the natural world, “from land art to garden art”. In an overview of historical currents in art (since the 1960s), plant art is highlighted as an instrument of critique of land art, and a self-standing current which, among other things, addresses social issues and ecological threats. The author also analyzes specific examples of garden-related artistic practices within the cityscape, considering the criteria under which certain projects can be seen as successful (models to emulate). The text concludes with open-ended questions about the place of plant art in present-day critical discourses, i.e. with respect to landscape architecture, bioart, and technonature.

5

Aesthetics and ecology in the post-modern perspective

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Zeidler-Janiszewska A.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 2-3

7-13

EN

The analysis sets out from the exhibition entitled Ressource Kunst. Die Elemente Neu Gesehen. The author attempts to outline an area which emerges from the encounter of ecology (as a domain of reflection about the human surroundings) and aesthetics (as a discipline concerned with sensory experience) from the standpoint of post-modernism. The inquiry thus focuses on the moment in which contemporary artistic practices “internalize” ecological issues. Aesthetics becomes a branch of ecology, but at the same time ecology becomes a domain within aesthetics. According to the author, post-modernism has offered advantageous perspectives for pursuing ecological postulations.

6

Informed aesthetic consensus and the creation of urban environments

80%

Mueller-Salo J.

Polish Journal of Landscape Studies

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2018

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vol. 1

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issue 2-3

117-132

EN

The aim of this paper is to analyze the aesthetics of urban environments. One central feature of urban environments is that they are surroundings that we share with each other and hence their aesthetic outlook belongs to our common world. One may then ask how common, i.e. shared surroundings should be planned, designed and managed? The author claims that an informed aesthetic consensus is needed. Throughout the paper he discusses why it is important to think about a consensus within urban aesthetic decision making in postmodern times, he presents the notion of an informed aesthetic consensus and its importance for aesthetic theory, finally-he explains how it may be applied to democratic processes of urban aesthetic decision making.

7

„Das Wunder Europa“ : Richard Nikolaus Coudenhove-Kalergi a jeho idea Pan-Evropy na stránkách Prager Presse 1921–1926

80%

Topor M.

Střed. Časopis pro mezioborová studia Střední Evropy 19. a 20. století. / Centre. Journal for Interdisciplinary Studies of Central Europe in the 19th and 20th Centuries.

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2016

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vol. 8

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issue 1

151-181

EN

The submitted article reconstructs the interactions between Richard Nikolaus Coudenhove-Kalergi as the originator of the Pan-Europe idea, and the Prague newspaper Prager Presse, during the time from August 1921 until autumn 1926. The account notes and comments not only upon Coudenhove-Kalergi writings published in the paper, but also the reviews of his books and reports on his public appearances. Thus the article traces, how the philosopher, who comes up with a particular interpretation of the situation in Europe after the World War I, becomes a leader of the international movement, a politician and a diplomat striving to gain support for a specific model of European organisation. The final section of this article deals with how the Czech translation of Coudenhove’s book Pan-Europa originated and the circumstances it was accompanied by.

8

Das Erhabene als literarisch-ästhetische Kategorie

80%

Styka J.

Classica Cracoviensia

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2013

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issue 16

165-187

EN

The paper discusses the rhetorical and literary concept of the sublime (tὸ u`qov) and its development in the theory and practice of the ancient Greeks and Romans. Special emphasis is put on pseudo-Longinus' treatise De sublimitate and its understanding of the concept of the sublime.

9

Piękno i estetyka w matematyce

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Melosik Z.

Studia Edukacyjne

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2021

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issue 60

103-112

EN

The article is devoted to the concept of beauty and aesthetics in mathematics. It first analyses the assumptions of rationality and objectivity of mathematics. In the second part, the article addresses the beauty and aesthetics in mathematical thinking and indicates profound skepticism in their validity. It likewise reconstructs the aesthetic dimension of Einstein’s theory. At the end, the author considers his own approach to aesthetics of theory in social sciences.

10

Paul Hindemith a idea postępu, tradycja i neoklasycyzm

80%

Księska-Koszałka J.

Kwartalnik Młodych Muzykologów UJ

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2017

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issue 4(35)

111-122

EN

Paul Hindemith is one of the most famous composers of the 20th century as well as the most important thinkers in the field of music. His aesthetic beliefs are inspired mainly by Boethius and Saint Augustine. He raises an issue of ideas of tradition and progress, which seemed quite disputable in the music of the 20th century. Hindemith believes that in the world exist some universal spiritual principles, which must be integrated by composers in the process of creating music. He criticises the approaches in which the technique itself appears to be predominant, therefore he negates such techniques as the twelve-tone chromatic scale. According to Hindemith, the development of music must be based on traditional fundaments, which, however, can be linked to modern styles and ideas. That seems crucial not only in the process of composing, but also in teaching music, both in theory and in practice.

11

Aesthetic dimension of political advertising

80%

Liutko N.

Torun International Studies

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2015

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issue 8

71-81

EN

Political advertising is a form of aesthetic and political communication; it is encountered in election, addressed to electoral groups and aimed at electoral behavior perception management. Aesthetic and political communication has a lot of characteristics of political communication in general, that in its turn is a kind of public communication. Advertising nails down certain emotions in the person’s memory, which hereafter will determine his (her) behavior. Achieving of an objective is made by aesthetic images creation and advancement that facilitates aesthetic judgment of objective world, increases beauty sensitivity, uprears and develops cultural perception, the sense of taste. In the course of it, the didactic orientation of political advertising emerges. In a general sense, political advertising aesthetics is the aesthetics of personal behavior management technologies in social setting, the aesthetic of personal influence. Political events infer aesthetic expressiveness and legalization in response to mass media, publicity, popular art, word-picture and image. Internal action of political and aesthetic aspects turns the individual into spectator and recipient.

12

Kwestia przedmiotu estetycznego a obiektywność badań estetycznych. Estetyka Ady Silberstein

80%

Ciechomska A.

Zagadnienia Rodzajów Literackich

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2019

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vol. 62

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issue 1 (129)

41-53

EN

The article is split into two parts. In the first one, author presents main concepts of the Polish theories from the field of aesthetics in the first decade of the twentieth century. For this purpose tries to describe the philosophical assumptions of Michał Sobeski and Jakub Segał, what is the context for the next part of the article. In second part she sets out the Ada’s Silberstein methodological concepts about the aesthetic subject and aesthetic experience, which are, according Silberstein, the key to determine aesthetics as a separate science, independent of psychological processes. Author shows that the philosophical project of Silberstein, based on Husserl’s phenomenology, demonstrates the objectivity of aesthetic research.

13

Women as Constellation in Walter Benjamin’s Aesthetics

80%

Damião C.

Estetyka i Krytyka

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2016

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issue 2(41)

119-134

EN

In seeking to combine the concept of the ‘Feminine’ and ‘Aesthetics,’ the approach here is to carry out an initial examination of Walter Benjamin’s aesthetic theory, then delve into his texts on Eros, leading to his personal correspondence. These combined references will indicate his change of mind, moving from the feminine, as unique, towards its ‘constellation formation’. Montage is the medium of leading with quotation as a mosaic incorporating the image of constellation. The use of montage has parallels in certain avant-garde art movements, its purpose being to disrupt a purely linear approach, in order to cope with the reality of the fragmentation of experience. Although we have little evidence of Benjamin’s theory being connected to Gender Studies, we can take his theory on Eros as an example of how this philosopher foresaw some of the contemporary questions concerning women, amalgamating these with his Aesthetics theory.

14

Bazowa aksjosfera dzieła sztuki z empiryczno-kulturalistycznego punktu widzenia

80%

Tarnowski J.

Estetyka i Krytyka

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2011

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issue 2(21)

151-164

EN

Stanislaw Ossowski in Basics of Aesthetics formulates an empiric-cultural theory of the axiology of a work of art. He aims at clarifying concepts of values, which must be simple, and one criterion. He makes the first step: differentiation of artistic and aesthetic values. However, he does not continue his work on the axiological paradigm in his later works. Therefore, a further clarification of the axiological concepts can be undertaken. The paper introduces and analyses the following simple values: content-aesthetic, form-aesthetic, innovate-artistic, historical-artistic and craft-artistic. They are the basic axiosphere of a work of art in our culture.

15

ЕСТЕТИЧНЕ ВИХОВАННЯ ОСОБИСТОСТІ:ВІД СОКРАТА ДО ДАТТОНА

80%

Леонід О., Іван Н., Жанна Я.

Педагогічні науки: теорія, історія, інноваційні технології

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2017

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issue 3(67)

235-246

EN

This article provides a historical overview of aesthetics as a science, which showed that methodological problems of aesthetic education of the younger generation in modern society has an important place in philosophy, psychology, pedagogy, art, culture and others. The development of aesthetics is a direct reflection of the evolution of society. Studying the genesis, functioning in a society of aesthetic theories and beliefs, the history of aesthetics gives the necessary background for understanding the theoretical problems of aesthetic education. The dialectical method of cognition is known, it involves the unity of historical and theoretical approaches to the analysis of any phenomenon, so the problem of aesthetic education research carried out in the context of the evolution of the main aesthetic doctrines. Methodological problems of aesthetic education of the younger generation in modern society are investigated. Analysis of the literature confirms that aesthetic education depends, first, on the social and cultural environment, and secondly, is determined by psychophysiological and general development of the child. Therefore, aesthetic education is determined by natural talent, is spontaneously formed in a socio-cultural and educational environment; it determines life, artistic and aesthetic experience and it is updated through targeted educational influence. Thus, the conceptual basis of modern foreign research is orientation on upbringing of an individual with a stable aesthetic worldview based on human values and priorities. On the other hand, unbiased analysis shows that the views of scientists on this important issue are ambiguous and constitute a mosaic picture on the level of theoretical and empirical considerations and need further research. The study used the following methods: analysis of philosophical, historical, art, psychological and educational literature of the study; comparison, generalization and systematization of scientific-theoretical information on the problem of aesthetic education of the individual.

16

Aksjologiczny wymiar współczesnej rekonfiguracji aisthesis

80%

Misiak T.

Estetyka i Krytyka

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2012

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issue 1(24)

57-76

XX

The traditional idea of aesthetics was connected to the sphere of art. Exclusively. Radical ideas of the avant-garde of the 20th century together with the expanding role of media and technology in contemporary culture led to broadening research of aesthetics. Contemporary aesthetics is interested in “aesthetic” in the broadest sense of this word. Thus, it is focused not only on art but also it is interested in everyday reality which is the very object of aesthetic processes. Most of all, however, it is focused on the relationship between art and various spheres of reality. One of the consequences of this changes is questioning the traditional hierarchy of senses with the sense of sight as prior. In my research I point at reasons for such hierarchy and I suggest some alternative ideas. According to the critics of the contemporary culture I mention in this work that balance to the hegemony of the sense of sight and vision may lie in the sense of hearing and sound as such. That is why I describe the metaphor connected to seeing and hearing and the vision of the world associated with it.

17

Grandville a świat muzyczny – wczoraj i dziś

80%

Zgodzińska B.

Estetyka i Krytyka

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2013

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issue 1(28)

241-260

EN

The article presents Grandville (1803–1847) –a French cartoonist, caricaturist, and illustrator (i.a., of La Fontaine’s SelectedFables, Swift’s Gulliver’s Travels, and Balzac’s Works), as well as the author of Another World, a book where words and pictures form an integral whole. Although he was popular during his lifetime and then recalled from time to time (e.g., by the surrealists, or 50 years ago by the French critic Pierre Restany), he has been forgotten throughout the years and is still not very well-known today. Some of his works are more widely known, as they were popularized by the album cover designers of such rock groups as Queen(figs. 4 and 5) or Alice in Chains (fig. 10). On the reverse of the cover of Innuendo, the designers used a picture from Another World showing the finale of a concert where an ophicleide (once a popular instrument) explodes like a bomb scattering musicalnotes (figs. 8 and 9). The music theme appears in a number of Grandville’s works, e.g., in Berlioz’s caricature entitled A Concert for Cannon (fig. 14) or Steam Concert (from Another World; fig. 15), where the musicians look as if they were cast from castiron elements of machines or factory shop equipment, their heads just being steam coming out from neck-tubes. Grandville lived and created in the “age of steam and electricity,” so it is not surprising that his works often refer to the changing world of the first industrial revolution.[Magdalena Węgrzyńska (tł.)].

18

The Position of Aesthetics in the Early Renaissance and the Philosophy of Marsilio Ficino

80%

Kuczyńska A.

Dialogue and Universalism

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2018

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issue 1

61-76

EN

Thee paper presents Marcilio Ficino’s aesthetics which is of a specific kind and differs from what we usually understand under the term. It expresses more than only thoughts on beauty and art, speaks about more than only the varieties of beauty, and deals with more than just the work of art—the object of art—and its relation to beauty. Traditional concepts played an important part in Ficino’s aesthetics, but alongside narrowly understood “proper” aesthetics, he offered another, very broad view of the entire aesthetic sphere, which allows his entire philosophy to be viewed as aesthetically rooted: love and beauty, which are among the driving ideas of his philosophy, are also aesthetic concepts. There are two other important elements in Ficino’s philosophy, God and the world, bound by a special relation based on his concept of the circuitus spiritualis. A cardinal theme in his philosophy, the circuitus spiritualis combines God with the world and is at once beauty, love and the highest degree of happiness.

19

czy Heglowska diagnoza sztuki jest aktualna?

80%

Chmielowski F.

Estetyka i Krytyka

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2011

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issue 1(20)

29-46

EN

The text presents the Hegelian idea of the end of art as well as her meaning for theoretical comprehension and the practical understanding of artistic facts. Author subjects hermeneutical analysis system and empirical premises Hegelian thesis, confronting it with current state of art as well as artistic consciousness and her interpretation in the philosophical aesthetics.

20

„Stín reality“ v kontextu Lévinasova myšlení

80%

Ševčík M.

Filosofický časopis (Philosophical Journal)

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2009

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vol. 57

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issue 6

887-892

EN

Focusing on Emmanuel Lévinas’ idea of the “shadow of reality”, the article describes the development of his approach to aesthetics and its relation to other important topics in Lévinas’ philosophy

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