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AESTHETIC EXPERTS

100%
Hadravová T.
ESPES
|
2019
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vol. 8
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issue 1
27 – 36
EN
In the 1990s and early 2000s, researchers in the field of so-called neuro-aesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies use subjects who are professionally engaged in the art world. In my paper, I describe, analyse, and critically discuss the two research paradigms regarding the subjects involved in the experiments in neuro-aesthetics. I claim that although the more recent one can be generally regarded as an improvement of the research framework, it underestimates the difficulties brought by the notion of expertise in aesthetic perception.
2
Content available remote

World Hypotheses and the Aesthetic Object in the Work of Stephen C. Pepper

100%
Dadejik O., Kaplicky M.
Estetika: The Central European Journal of Aesthetics
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2006
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vol. 42
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issue 1-3
19-34
EN
The main topic of this essay is the relation between philosophy and aesthetics as considered by the American philosopher Stephen C. Pepper (1891-1972). The essay has two parts. The first presents the thought-provoking theory of metaphysics (or metaphilosophy), which anticipated many important philosophical topics of the second half of the twentieth century, such as the metaphor in philosophy, the dynamic notion of structure, and the pluralistic conception of knowledge. Special attention is paid here to the core of Pepper's approach, the 'root metaphor' theory. The second part examines the application of Pepper's 'world hypotheses' to the field of aesthetics. The essay concludes by pointing out a gap in Pepper's argumentation, and by suggesting the creative development of this gap on the basis of Pepper's theory.
3

KAUKAZ CEZ KALEIDOSKOP RUSKEJ LITERATÚRY

75%
Laučíková K.
Človek a spoločnosť. Internetový časopis pre pôvodné teoretické a výskumné štúdie z oblasti spoločenských vied
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2011
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vol. 14
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issue 1
-
EN
The Caucasus had an image of hostile country full of bloodthirsty barbarians in the Russian representation of the 18th - 19th century. It became a place of exile of inconvenient people from the intelligentsia. The mountains were absolutely new phenomena for the Russians writers coming from the large plains. The Caucasus of the Russian writers is a creation of their imagination, a place where they put on their mental projections and wishes. In the depiction of the mountains, they found a way to express their desire to return to the natural world with the attributed qualities like spontaneity, innocence, carelessness. To some writers it became a means to limit their own identity and created a new category of men standing between the 'civilisation' and the 'barbarian' world. Pushkin created an exotic image of the highlanders - warrior children of the nature and his poem The prisoner of the Caucasus introducing the concept of freedom and liberty influence the perception of Caucasus among Russian readers. Lermontov was fascinated by the tradition of the blood vengeance and depicted the highlanders as the 'noble savage men' whom the anthropologist R. Bartra judges as a cultural necessity to the 'civilised' European who discovered his suppressed primary element, his alter-ego. The imaginary Caucasus of e. g. Marlinskij, Gneditch, E. Gan is full of handsome man, brave warriors and the passionate women giving a pleasure to every man who wants. Certain themes have been overtaken by other writers like the prisoner of the Caucasus, Queen Tamara and demon. The literary imagination seems to be a way for the writers to domesticate, gain control over a strange country.
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