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Drogi wiedzy w antropologii społeczno-kulturowej po zwrocie ku sensoryczności i niedyskursywnemu doświadczaniu rzeczywistości

100%

Majbroda K.

Lud

2013

vol. 97

17-38

The cognitive legitimisation as well as the ways of interpreting the reality are constantly changing in anthropology. The article aims to outline the new ways of cognition in socio-cultural anthropology emphasising the shift towards experiencing socio-cultural reality. It focuses on several leads which imply the revival of the experience, the sensual and the emotional aspects in the cognitive process and which are perceived as a remedy for both the positivistic rationalism and the socio-cultural constructivism. The basic assumption of anthropology focused on the experience and the sensual is that anthropologists should approach the social concrete as closely as possible in order to be capable to describe the reality in the most “common”, “natural” and “experienced” ways. The emerging of sensual anthropology in the 1990s is usually related with the postmodern and postcolonial critique within the discipline. It shows therefore that the presupposition of this relatively new research perspective has both, the epistemological and the political character. The article, however, attempts to present the view that the principles of sensual anthropology may be observed also in the modernist anthropology, particularly in the writings of Bronisław Malinowski and Margaret Mead. In addition, the analysis of the new ways of cognition in anthropology shows the cognitive situation in historiography and allows us to introduce some analogies in the cognitive transformations of both disciplines as well as the impact of consecutive turns that reoriented them and shifted towards the language, text and the common knowledge, which is situated outside the scientific legitimisation and in the close relations to everyday cognition mediated by the body and senses.

A World of ‘Purely Artistic Conception’ and a ‘Universal Art of the Spirit’: Max Dvořák and Karel Teige between Phenomenology and Surrealism

80%

Vojvodík J.

Slovo a smysl - Word & Sense

2015

vol. 12

issue 24

25-41

In the early 1940s, Karel Teige, a prominent theorist of the Czech avant-garde, returns to Max Dvořák’s concept of history of art as ‘history of the spirit’. Starting in the late 1930s, Teige pursued a sustained inquiry into the essence of the so-called imaginative (or ‘phantasizing’, in Teige’s own terminology) art, and his findings, which he intended to synthetize in a broadly conceived Phenomenology of Art (left unfinished), led him to the view that the essence of imaginative art consists in the visualization of ‘spiritual forms’ of an inner model. Primarily, it consists in a substantial transformation of one’s relationship to the external world: specifically, an internalization of senseperception and its metamorphosis into spiritual forms of subjective perception and consciousness. josef vojvodík 41 This is where Teige might have been influenced precisely by Dvořák’s abolition of any antithesis between naturalism and idealism, internal and external image, and his quest for a unity of Kunstwissenschaft and artistic practice. Teige was aware that this problem is central and constitutive for the entire era of Modernity and of the avant-garde, just as Dvořák was aware that the history and theory of modern art cannot consist in a mere mechanic continuation of the traditional arthistorical method; rather, it must reflect upon the creative processes of modern art.

Na počátku čtyřicátých let 20. století se teoretik české avantgardy Karel Teige vrací ke koncepci dějin umění Maxe Dvořáka, totiž dějin umění jako „dějin ducha“. Od konce třicátých let 20. století se Teige intenzivně zabýval podstatou tzv. imaginativního (nebo, jeho terminologií, fantazijního) umění a své studium a rozbory, které chtěl syntetizovat v rozsáhle koncipované, ale nedokončené práci Fenomenologie umění, jej vedly k názoru, že podstatu imaginativního umění tvoří vizualizace „duchových forem“ vnitřního modelu. Je to především zásadní proměna vztahu k vnějšímu světu ve smyslu zvnitřnění smyslového vnímání, smyslových vjemů, jejich proměna v duchovní útvary subjektivního vnímání a vědomí. Zde mohlo na Teigeho uvažování silně působit právě Dvořákovo zrušení antiteze mezi naturalismem a idealismem, vnitřním a zevním obrazem, jeho požadavek jednoty vědy o umění a umělecké praxe. Uvědomoval si, že jde o problém, který je zásadním způsobem konstitutivní pro celou epochu moderny a avantgardy, podobně jako si byl Dvořák vědom toho, že dějiny a teorie umění moderny nemohou být mechanickým pokračováním tradiční uměleckohistorické metodiky, nýbrž reflexí tvůrčích procesů modemy samotné.

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Drogi wiedzy w antropologii społeczno-kulturowej po zwrocie ku sensoryczności i niedyskursywnemu doświadczaniu rzeczywistości

A World of ‘Purely Artistic Conception’ and a ‘Universal Art of the Spirit’: Max Dvořák and Karel Teige between Phenomenology and Surrealism