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1

MONOLOG, DIALOG A POZORNOST K JÁ

100%
Zuska V.
Filozofia (Philosophy)
|
2009
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vol. 64
|
issue 5
436-442
EN
The study analyses a narrative monologue, an inner monologue, and a monologue which includes a dialogue between the author (implied author, narrator) and the reader/spectator, from the point of view of the recipient's participation in the narrative. It employs Mukarovsky's analysis of what extent a monologue is present in every dialogue as well as latent and sometimes manifest dialogue features present in every monologue, along with the side-participation of hearer/spectator. The notion of side-participation is expanded on the triangular model of attention with continual presence of ego-consciousness. Thus every monologue has a side-participant who consequently holds a conversation with himself, especially in the case of an aesthetic attitude. Each member of a communicative situation embodies three roles: those of a speaker, a hearer and a side-participant.
2
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NESTRUKTURNÍ VERZE VARIAČNÍ METODY – EXPLANAČNÍ SLABOST GESTALTU, MEZE IMAGINACE A ODMÍTNUTÍ JINÉHO

100%
Zuska V.
ESPES
|
2019
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vol. 8
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issue 2
28 – 32
EN
The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism (Mukařovský) and phenomenology (Husserl).
3
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The Narrative Event as an Occasion of Emergence

100%
Zuska V.
Estetika: The Central European Journal of Aesthetics
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2009
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vol. 46
|
issue 1
62-74
EN
Some recent approaches to narratology have presented the event as a basic constitutive element of narrativity. The event is considered either a primitive term or something that just happens or may happen, a change from one state to another. The underlying concepts are identity, state, and being. The article describes the event in general and the narrative event in particular from the perspective of the primacy of becoming, change, and flow, employing especially Whitehead's philosophy of process and also certain concepts developed by reception aesthetics. The narrative event is analyzed in the context of the following concatenation: the event - interconnected events - plot - fictional world - the real world and its potentiality. The aim is to understand a narrative event not as an interruption of the receptive flow, but as its change of course among levels of emergence.
4

Funkce Rozumu v estetickém prožitku

100%
Zuska V.
Teorie vědy (Theory of Science)
|
2010
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vol. 32
|
issue 2
227-234
EN
The study considers Whitehead's conception of the Reason (articulated especially in his The Function of Reason) as a regulative factor in every aesthetic experience along with Whitehead's opinion of the basic aesthetic character of every experience. These thoughts are compared with contemporary findings of neuroaesthetics and the Reception aesthetics, in order to demonstrate how stimulating Whitehead's philosophy is even for the present-day aesthetics.
5
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„Zaujetí kvalitou“ jako protoestetická událost

100%
Zuska V.
Slovo a smysl - Word & Sense
|
2019
|
vol. 16
|
issue 32
215-227
EN
Contrary to Ingarden’s meticulous analyses and explanations of many serious aesthetic problems, the initial stages of aesthetic experience or, more aptly, the event that immediately precedes this experience, is rather neglected in his work. This study seeks to fill in the ‘place of indeterminacy’ in Ingarden’s description of the process of aesthetic experience, where the philosopher draws on two notions: drawing toward quality and entry emotion. It uses two main sources. The first is phenomenology, in particular Husserl’s notions of the transition to modalities, the inclination to judge, and Dufrenne’s affective qualities and aesthetic value. As a second point of departure, the study borrows from a wide range of contemporary concepts proper to such fields as cognitive neuroscience, including affective heuristics, affective forecasting, unconscious affect, attitude and attitudinal change, and subtle distinctions in the field of emotions by Damasio: emotion, feeling, and feeling of feelings. Tracing the complex inter-relations among attention, affect, and the affective fixation of attentional focus, the author presents his conclusion concerning the non-aesthetical nature of the first quality in proto-aesthetic event, the event character of this proto-phase of the aesthetic experience, and the initiation of aesthetic experience through self-reflective feeling of feeling, aka entry emotion
6
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Implicit Assumptions in Weed’s Reflections on the Implicit Assumptions of Neuroaesthetics

100%
Zuska V.
Estetika: The Central European Journal of Aesthetics
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2008
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vol. 45
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issue 2
198-201
EN
A critical comment on Weed's 'Looking for Beauty in the Brain' from Estetika 1/2008
7
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More Than a Story: The Two-dimensional Aesthetics of the Forest

63%
Dadejik O., Zuska V.
Estetika: The Central European Journal of Aesthetics
|
2010
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vol. 47
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issue 1
27-50
EN
This article presents a general conception of aesthetic experience built on an analysis of the relationship between the narrative and the ambient dimensions of the aesthetic value of a natural environment, the forest. First of all, the two dimensions are presented with respect to the possibilities and problems raised by distinguishing between them. Next, the possibilities of their relationship are analysed and it is argued that they are strongly complementary. This complementarity becomes the core of the proposed conception of aesthetic experience, which can explain the difference between the aesthetic and the non-aesthetic, and can also provide an answer to the question of the non-reductive differentiation between the aesthetic experience of nature and the experience of a work of art. The conclusion of the article is mainly concerned to eliminate one of the problems localized in presenting the ambient dimension (the ambience paradox), by means of Ricoeur's conception of the relationship between time and narrative.
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