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The Garden as a Performance

100%
Salwa M.
Estetika: The Central European Journal of Aesthetics
|
2014
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vol. 51
|
issue 1
42-62
EN
The aim of this article is to suggest that one should think of gardens in terms of performances and not necessarily in terms of architecture, painting, or poetry, for it is possible to show that, strangely enough, gardens seem to share certain features with performance arts. Such an approach seems fruitful since it allows one both to grasp the fact that gardens combine culture and nature and to underline the role of the latter, which cannot be reduced to a sheer medium as is traditionally done. The contention is that gardens should be treated more like a continuous, dynamic, partly planned process in which people can participate in different ways on a par with other non-human ‘actors’. Moreover, the category of performance seems to offer a useful framework helping to solve certain problems inherent in traditional ways of thinking about gardens.
2
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Objective Beauty and Subjective Dissent in Leibniz’s Aesthetics

88%
Portales C.
Estetika: The Central European Journal of Aesthetics
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2018
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vol. 55 (New Series 11)
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issue 1
EN
According to the classical view, beauty is grounded on the universe’s objective harmony, defined by the formula of unity in variety. Concurrently, nature’s beauty is univocal and independent of subjective judgement. In this paper I will argue that, although Leibniz’s view coincides with this formula, his philosophy offers an explanation for subjective dissent in aesthetic judgements about nature. I will show that the acceptance of divergences on aesthetic value are the result of a conception of harmony that includes qualitative variety and dissonance.
3
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Knowledge, Imagination, and Stories in the Aesthetic Experience of Forests

75%
Mikkonen J.
Estetika: The Central European Journal of Aesthetics
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2018
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vol. 55 (New Series 11)
|
issue 1
EN
A key dispute in environmental aesthetics concerns the role of scientific knowledge in our aesthetic appreciation of the natural environment. In this article, I will explore this debate by focusing on the aesthetic experience of forests. I intend to question reductive forms of the scientific approach and support the role of imagination and stories in nature appreciation.
4
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Słowik Kanta, słowik Andersena i mimesis Adorna. Esej śladem XVIII- i XIX-wiecznej prehistorii kilku wątków Teorii estetycznej

51%
Chachulski J.
Kultura i Wartości
|
2020
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issue 29
DE
Der Essay konzentriert sich auf einigen Aspekten der ästhetischen Theorie von Theodor W. Adorno als einer eigenartigen Neuinterpretation von Kantischen und romantischen Ideen des Naturschönen. Die Achse der durchgeführten Reflexion ist das Motiv des Gesanges einer Nachtigall als ein Paradigma der Spontaneität des Naturschönen, das von Kant in Kritik der Urteilskraft eingeführt wurde sowie seine Neuinterpretation in dem bekannten Märchen von Hans Christian Andersen, beide in demselben Kapitel der Schrift von Adorno aufgerufen. Der Begriff der Mimesis bei Adorno wird als Impuls für etwas außerhalb des Subjekts rekonstruiert. Dieser Impuls, der in sich die Spontaneität mit dem Unwillkürlichen, die Reaktivität mit schöpferischem und kreativem Charakter verbindet, hinterfragt letztendlich eine rationale Konstruktion des Subjekts, die durch Abgrenzung des Anderen erfolgt. Die Rekonstruktion lässt erkennen, wie – und in welchem Maß – die frühromantische Vision des Künstlers, der an der Spontanität der Natur teilnimmt, im ästhetischen Konzept Adornos beibehalten werden konnte, indem sie gezwungenermaßen mit der sie verneinenden Artefaktivität gleichzeitig bestand – dem Zug des Scheins, der jedem Kunstwerk immanent ist.
EN
The essay focuses on some aspects of Theodor W. Adorno’s Aestethic Theory viewed as a specific kind of reinterpretation of – as well as discussion with – the Kantian and romantic ideas of natural beauty. The article’s axis is the motif of the nightingale’s singing as a paradigm of natural beauty used by Kant’s in his Critic of the Power of Judgement and its reinterpretation in Hans Christian Andersen’s well-known fairy-tale, both addressed in the same paragraph of Adorno’s study. The reconstruction of Adorno’s concept of mimesis as an impulse towards the non-subjective, combining spontaneity with involuntariness, reactivity with creative and shaping character, and ultimately questioning the rational construction of the subject by dividing it from what is different, allows to show how and to what extent the early romantic vision of an artist participating in the spontaneity of nature could be preserved in Adorn’s aesthetic thought – the same time, however, denied by the indelible artifacticity – semblance character – of the work of art.
PL
Esej koncentruje się na niektórych aspektach teorii estetycznej Theodora W. Adorno jako szczególnego rodzaju reinterpretacji kantowskich i romantycznych idei piękna naturalnego. Osią przeprowadzonej refleksji jest motyw śpiewu słowika jako paradygmatu piękna natury, wprowadzony przez Kanta w Krytyce władzy sądzenia, i jego reinterpretacja w znanej baśni Hansa Christiana Andersena – oba przywołane w tym samym akapicie pracy Adorna. Napięcie między tymi przeciwstawnymi ujęciami rozpoznane zostaje jako utrzymujące się głęboko w myśli estetycznej frankfurckiego filozofa, szczególnie w kontekście jego kluczowych koncepcji pozoru estetycznego i mimesis.
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