Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 20

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  AESTHETIC EXPERIENCE
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

AESTHETIC JUDGING AS INTERFACE: GETTING TO KNOW WHAT YOU EXPERIENCE

100%
Kiianlinna O., Kurjenmiekka J.
ESPES
|
2023
|
vol. 12
|
issue 1
108 – 128
EN
One of the aims of Aesthetics is to understand aesthetic experience, that of our own and that of others. Yet, the underlying question of how we can get information about other people’s aesthetic experience has not been granted enough attention. This article contributes to bridging this gap. The main argument is that by resorting to aesthetic judging, we can get information about other people’s aesthetic experience without sharing it. This article outlines how aesthetic judging works as an interface to aesthetic experience. Aesthetic judging allows us to access aesthetic experience indirectly: with it, we can get some information about aesthetic experience. Aesthetic judging thus positions us in relation to someone else’s aesthetic experience. In a nutshell, learning about aesthetic experience happens via aesthetic judging in at least three ways proposed and analysed here: “aesthetic participation”, “affective appropriation”, and “distanced aesthetic empathy”.
2
Content available remote

AESTHETIC IDEA AS AN ESSENCE OF AESTHETIC

80%
Kirwan J.
ESPES
|
2018
|
vol. 7
|
issue 1
24 – 29
EN
This paper suggests that Kant’s concept of the ‘aesthetic idea’ is a useful starting point for understanding the nature of aesthetic experience once we reject the formalist interpretation that Kant gives to the relationship between those ideas and that experience.
3

Funkce Rozumu v estetickém prožitku

80%
Zuska V.
Teorie vědy (Theory of Science)
|
2010
|
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.
4
Content available remote

Krajina jako maska přírody: Estetika subverze versus estetika konformity

80%
Zuska V., Dadejik O.
Estetika: The Central European Journal of Aesthetics
|
2007
|
vol. 44
|
issue 1-4
28-44
EN
The article considers the possibilities of the function and constitution of aesthetic value in the contemporary, ambivalent notion of landscape. It begins with a preliminary analysis of three key concepts central to current discussions - namely, nature, landscape, and environment. It presents one of the dominant models of contemporary ideas about the aesthetics of landscape - the natural environmental model - and in particular its ambition to accommodate both the true character of today's relationship between man and his habitat and our aesthetic experience and understanding of it. Mainly, the essay points out the theoretical difficulties implied in this. In conclusion, the article suggests the hidden ethical dimension of our possible relationship to our environment (that is, nature-in-landscape).
5
Content available remote

RECONSIDERING INGARDEN’S CONTRIBUTION TO EUROPEAN AESTHETICS: AESTHETIC EXPERIENCE AND THE CONCEPT OF ENCOUNTER

80%
Szyszkowska M. A.
ESPES
|
2018
|
vol. 7
|
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.
6

ON READING AND AESTHETICS OF DIGITAL LITERATURE (PROBLEM OF DISORIENTATION, AND LACK OF COHERENCE AND CLOSURE) (K citaniu a estetike digitalnej literatury. Problem dezorientácie, nedostatku koherencie a nezavrsenosti)

80%
Gafrik R.
Slovak Review. A Review of World Literature Research
|
2008
|
vol. 17
|
issue 2
84-89
EN
Digital literature is either praised as the fulfillment of the post-structuralistic literary theory and thus representing an interesting and dynamic new form of art or it is seen as an experiment which is destined to failure because it spoils the reader's pleasure. The paper summarizes some current experimental studies in reader response to print and digital literature. Disorientation and the lack of coherence and closure seem to be the main causes for the reader's unease. The author of the paper argues that the phenomenological description of postmodern aesthetic experience can be applied to the experience of reading digital literature. The aesthetics of digital literature is thus characterized by an experience of a series of 'larval' or undeveloped aesthetic objects.
7
Content available remote

Anosmic Aesthetics

80%
Tafalla M.
Estetika: The Central European Journal of Aesthetics
|
2013
|
vol. 50
|
issue 1
53-81
EN
Anosmia is a sensory disability that consists of the inability to perceive odours. The sense of smell can be lost at any time during life, but people suffering from congenital anosmia, as I do, have never had any experience of smelling. My question is whether such an impairment of olfaction impoverishes aesthetic appreciation or makes it different in any way. I hypothesize that congenital anosmia entails two different kinds of loss in aesthetic appreciation. In order to test my hypothesis, I address modern and contemporary aesthetic theory. Finally, I claim that congenital anosmia constitutes an impoverishment, but also ask whether it can be compensated for by dialogue and imagination. I further inquire as to whether it can foster a more self-critical aesthetic appreciation, more conscious of the powers and limits of our senses.
8

K PROBLEMATIKE GEOMETRIZOVANIA KRÁSY A ESTETICKÝCH POJMOV

80%
Démuth A.
Filozofia (Philosophy)
|
2020
|
vol. 75
|
issue 2
121 – 132
EN
The following text presents a philosophical and linguistic attempt to propose a cognitive-semantic tool allowing for a more precise definition and clarification of the meanings and structures of the terms beauty and aesthetic experience. The presented analysis stems from Gärdenfors’s theory of conceptual spaces and the premise that beauty and aesthetic experience create multidimensional conceptual spaces. The conceptual analysis of the basic terms, related concepts and connected dimensions will be used in their exploration, both in the everyday language, as well as in the specialized-scientific understanding (philosophy, aesthetics). The text also presents the results of the empirical research carried out by George Hosoya on mapping the terms of aesthetic emotions, which are put in context with the Gärdenfors’s model. It attempts to analyse our understanding of the basic moments and structures of aesthetic experience, as well as the possibilities in the research in them, by uncovering and describing different dimensions of the experience of beauty.
9
Content available remote

G. SANTAYANA – ESTETIK, FILOZOF, LITERÁT – INŠPIRUJE SÚČASNOSŤ

80%
Bandurová L.
ESPES
|
2012
|
vol. 1
|
issue 1
31 – 37
EN
The author considers aesthetic thinking of George Santayana to be closely interconnected and knotted with his philosophical attitudes and at the same time with his art production (novel, poetry). The author suggests that his production (philosophical, aesthetic, literary, social, and political works), in spite of diversity of his ideas, can be characterized by continuity. She proves by evidence that Santayana’s thinking has not changed during his production despite the fact that he has used different approaches or terminology or style, medium. She points at the development of his thinking, shifts of opinions and ideas, which he has had on beauty, art, and life. She points out that his own ontological philosophical system has been developed gradually from his youthful aesthetic ideas. The author considers Santayana’s aesthetic thinking, especially his concept of “aesthetic experience” to be inspiring source for contemporary aesthetic and philosophical theories.
10

Zygmunt Krasińskis Umgang mit der deutschenLiteratur. Ein Beitrag zum deutsch-polnischenromantischen Kulturtransfer nach 1830

80%
Kopij-Weiß M.
Germanica Wratislaviensia
|
2012
|
vol. 136
41-55
EN
The intercourse with the German literature and philosophy was an important factor for Zygmunt Krasiński’s intellectual biography. German literature was to him a truly aesthetic experience and inspiration, which he many times admitted. The most important German-speaking authors were Jean Paul, Novalis, Hegel, Friedrich Schlegel, and Goethe, whose Faust had a significant impact on the Nie-Boska komedia. Interesting reading and insight into the reception of the German culture is offered by Krasiński’s rich correspondence, which can be treated as a kind of commentary to the works of the Germans he read. The Polish romantic saw the key to the understanding of German poetry and speculative philosophy in pantheism, to which he himself had an ambivalent attitude.
11
Content available remote

Mieczysław Wallis: Experience and Value

80%
Bokiniec M., Wallis M.
Estetika: The Central European Journal of Aesthetics
|
2009
|
vol. 46
|
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.
12
Content available remote

ESTETICKÁ SKÚSENOSŤ DNES. SKÚMANIE SOMAESTETIKY VO VZŤAHU K ESTETIKE KAŽDODENNOSTI A ESTETIKE ENVIRONMENT

80%
Kvokačka A.
ESPES
|
2015
|
vol. 4
|
issue 2
10 – 15
EN
The title of the paper is the allusion to an article by Richard Shusterman. In the text, I try to explore in the similar strategy the current state of aesthetic experience. Starting from The End of Aesthetic Experience I follow the notion of aesthetic experience which "will be strengthened and preserved the more it is experienced; it will be more experienced the more we are directed to such experience; and one good way of directing us to such experience is fuller recognition of its importance and richness through greater attention to the concept of aesthetic experience". Is the somaesthetics became the answer to the loss of interest in aesthetic experience? The answer lies partly in examining the relationship between aesthetic experience and aesthetics of environment and everyday aesthetics, which further analysis of the notion pointed Shusterman himself. The result of research leads us to renewed role of aesthetic experience in contemporary aesthetics beyond the aesthetics (or philosophy) of art.
13
Content available remote

ENGAGEMENT AND RESONANCE: TWO WAYS OUT FROM DISINTERESTEDNESS AND ALIENATION

80%
Diaconu M.
ESPES
|
2017
|
vol. 6
|
issue 2
40 – 49
EN
Arnold Berleant’s enlargement of the scope of aesthetics to environments and social relationships opens the way for associations with approaches from other human and social sciences. One possible term of comparison is Hartmut Rosa’s theory of modernity, which applies the concept of resonance to various fields, including nature and art. At the beginning, their aims appear to be different and their alternatives slightly different: engagement stresses the continuity between the embodied self and the world, whereas resonance is primarily based upon a model of communication. Nevertheless, their relational theories converge in several respects: they focus on experience, defend participatory models against objectifying and merely contemplative relationships, and practise social criticism in their search for a meaningful and good life.
14
Content available remote

Looking for Beauty in the Brain

80%
Weed E.
Estetika: The Central European Journal of Aesthetics
|
2008
|
vol. 45
|
issue 1
5-23
EN
The emerging research area of neuroaesthetics has provoked a good deal of discussion. Although it seems reasonable to describe the experience of aesthetic enjoyment as a mental event, and it also seems reasonable to claim that mental states must be related to brain states, the search for specific brain states that correlate with aesthetic enjoyment is tricky, despite the many recent advances in brain-imaging technology. Correlating the aesthetic experience with specific brain states involves defining the aesthetic experience. By applying a model from the world of empirical consciousness research to three neuroaesthetic experiments, the author shows that each of these studies approaches the object of study, the aesthetic experience, from a different perspective. By employing a framework to make explicit the sometimes implicit assumptions involved in neuroaesthetic research, he hopes to open a new avenue for the continuation of an already fascinating discussion.
15
Content available remote

Remapping the Realm of Aesthetics: On Recent Controversies about the Aesthetic and Aesthetic Experience in Everyday Life

80%
Ratiu D. E.
Estetika: The Central European Journal of Aesthetics
|
2013
|
vol. 50
|
issue 1
3-27
EN
This article addresses two controversial open questions in philosophical aesthetics: the nature and value of the aesthetic and of aesthetic experience when approached from the standpoint of ‘aesthetics of everyday life’ (AEL). Contrasting ‘strong’ AEL accounts that consider them radically different from those in the sphere of art, I claim that extending the realm and scope of aesthetics towards everyday life does not necessarily dispense with the concepts of the aesthetic and aesthetic experience as shaped in relation to the arts. Drawing on ‘weak’ formulations of AEL and on theories that call attention to concepts of art different from modern ones, I defend a normative but open model of the aesthetic and aesthetic experience pertaining to both art and everyday life. This more integrative theoretical framework needs to include clear and consistent views of the aesthetic as well as of the self, intersubjectivity, and everyday life.
16
Content available remote

Historizität und Intersubjektivität der ästhetischen Erfahrung. Eine Positionierung zwischen Jauß und Kant

70%
Capdevila P.
Estetika: The Central European Journal of Aesthetics
|
2009
|
vol. 46
|
issue 2
119-143
EN
This article seeks to formulate a theory of aesthetic experience, which includes a historical dimension. It first takes some historical examples of aesthetic experience and looks for similarities amongst them. It then presents a personal reading of Jauss's theory of aesthetic experience, which, though historicist, presents a general or universal structure. The article aims to demonstrate that Jauss's theory is highly productive for the purpose of the current argument, but offers no satisfying solution to the problem of intersubjectivity. To solve this problem, the author turns to a recent reading of Kantian aesthetics, providing a complement to a general theory of aesthetic experience, which includes a non-relativistic factor of historicity.
17
Content available remote

The Structure and Content of Architectural Experience: Scruton on Architecture as Art

70%
Sauchelli A.
Estetika: The Central European Journal of Aesthetics
|
2012
|
vol. 49
|
issue 1
26-45
EN
The notion of architectural experience has been explored by Roger Scruton in a essay in which he provides an account of both its structure and content, along with clarifications of certain key concepts in architectural criticism, such as architectural success and architectural beauty. In this article, I introduce Scruton’s theory and argue that, despite its intuitive appeal, some crucial elements for the appreciation of buildings as works of architecture are not adequately addressed there. I then propose various ways of addressing these criticisms.
18

Leopold Blaustein: Imaginary Representations; The Role of Perception in Aesthetic Experience

61%
Rosinska Z.
Estetika: The Central European Journal of Aesthetics
|
2011
|
vol. 48
|
issue 2
199-243
EN
The introduction to Leopold Blaustein's (1905-1944) two essays in this issue of Estetika contains a general biographical note about the author and his philosophical affiliations, as well as a brief description of his particular interests within philosophical aesthetics. Blaustein's method of philosophical inquiry is described as analytical phenomenology. Three interconnected fields of aesthetics in Blaustein's works are emphasized: the theory of aesthetic perception, the theory of attitudes (towards the imaginary world and the reproduced one) and the theory of representation, especially the imaginary representation crucial for aesthetic perception. Blaustein's theory of perception and aesthetic experience is discussed in greater detail in the introduction as well as represented by the essay 'The Role of Perception in Aesthetic Experience'. His theory of imaginary representation is exemplified by a selection from his important book Przedstawienia imaginatywne (Imaginary representations, 1930). The introduction ends with an account of the idea of 'experiential unity of a higher order', which for Blaustein serves as the condition for the possibility of aesthetic experience and constitutes an important background for an understanding of Blaustein's aesthetics.
19
Content available remote

ON SOME NOVEL ENCOUNTERS WITH FINE ARTS. WHERE TO SEARCH FOR AESTHETICS AND WHERE AESTHETICS MAY HAVE SOMETHING TO (RE)SEARCH

61%
Somhegyi Z.
ESPES
|
2020
|
vol. 9
|
issue 2
23 – 31
EN
In this paper, I examine some of the various ways, spaces, and situations in which one can currently encounter aesthetic content and have an aesthetic experience. By focusing on examples coming from the world of fine arts, my survey will tackle a double question: I will try to investigate where to search for aesthetics and where aesthetics may have something to (re)search. Considering the novel forms of art presentation that are related to the spread of alternative exhibition spaces, I will examine the emergence of new audiences, the rising power of the art market and art commerce, and their dubious influence on the creation of new standards and canons of art.
20
Content available remote

More Than a Story: The Two-dimensional Aesthetics of the Forest

51%
Dadejik O., Zuska V.
Estetika: The Central European Journal of Aesthetics
|
2010
|
vol. 47
|
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.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.