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MEDZI SÚRADNICAMI PRÓZY, HISTÓRIE A LITERÁRNEJ ESTETIKY

100%
Žemberová V.
ESPES
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2015
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vol. 4
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issue 2
93 – 100
EN
The object of reasoning about the connection of a story, knowledge of the past and its artistic expression became the text Pentcho and remembering of those who by the cultural history were included under the literature of a major disaster. Last century has registered in its memory two wartime disasters that destroyed a large number of human lives, changed a lot of fates of individuals, families and countries. War theme contents were depicted in different ways, in addition to atrocities and experiences having (again) existential character, after a passage of time since the events, moral and emotional narrations as well as recollections of experienced suffering and close people started to prevail so that the descendants of the generation who escaped war and concentration camps could reasonably and in a sophisticated way comment on what the literary history, history and individual memory has recorded. Literary aesthetics is updated in the artistic method and poetology through the author’s strategy and carried out in genealogy, but always in order to highlight the educational and cultural value of the theme and idea of the artistic text.
2

HETERONOMIE ESTETICKÉ HODNOTY

100%
Zahrádka P.
Filozofia (Philosophy)
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2015
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vol. 70
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issue 2
130 – 144
EN
The paper deals with the problems related to the definition of aesthetic value. First, the definition of aesthetic value is approached from a methodological point of view (conceptual explication). Subsequently, a critical reconstruction of several traditional attempts at defining aesthetic value is carried on (I. Kant, M. C. Beardsley). These, due to their theoretical or epistemological assumptions, do not meet one of the criteria of a correct conceptual explication, i.e. the condition of similarity to ordinary language achieved by normative exclusion of certain aesthetic language games, including the heteronomy of aesthetic value. In the final part of the paper an attempt is made at defining aesthetic creation and aesthetic property that could serve as a theoretical basis for aesthetic evaluation and taste researches in humanities and social sciences.
3
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Remapping the Realm of Aesthetics: On Recent Controversies about the Aesthetic and Aesthetic Experience in Everyday Life

100%
Ratiu D. E.
Estetika: The Central European Journal of Aesthetics
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2013
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vol. 50
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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.
4
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THEORY OF METAPHOR AND ASPECT SEEING

100%
Kubalík Š.
World Literature Studies
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2018
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vol. 10
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issue 3
104 – 113
EN
The present paper aims at elucidating the conceptual architecture of Marcus B. Hester’s theory of metaphor. This theory is fundamentally based on Ludwig Wittgenstein’s analysis of aspect perception (as appeared in the eleventh section of his Philosophical Investigations). On the one hand, Hester’s theory is worth noticing for the emphasis it gives to imagination (or quasi-perceptual experience) in the process of appreciating metaphorical statements; on the other hand, however, it does not properly interpret the chosen Wittgensteinian inspiration. Its main shortcoming, as I try to show, is that Hester does not pay adequate attention to Wittgenstein’s distinction between the experience of noticing an aspect (so called “aspect-dawning”) and continuous aspect perception. This flaw then results in such an account of metaphor that actually does not make room for aesthetic value of metaphorical statements. Such a result would be unacceptable for Hester himself, since poetic metaphor was in the centre of his attention, but the problematic assumptions responsible for it went unnoticed by him.
5
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KÁNON SLOVENSKEJ LITERATÚRY A KÁNONICKÝ STATUS LITERÁRNEHO DIELA

75%
Rédey Z.
World Literature Studies
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2015
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vol. 7 (24)
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issue 3
16 - 29
EN
The contribution focuses on the question: to what extent is the Slovak literary canon grounded in the literary and aesthetic value of the texts it contains? In what sense, or, to what extent is the canon determined by eventual extra-literary, mainly ideological, matters? The paper does not examine the problem in its full extent; it rather demonstrates this upon the synecdochical choice of exemplary literary works, especially on the poetry by P. O. Hviezdoslav who emblematically embodies the national literary classic, as well as on the poetry by J. Ondruš. The paper points to a more general tendency in the practice of contemporary Slovak literary historiography which tends to classify work as canonical, disregarding its aesthetic value – structured at the level of intensional meaning – and considers only its extensional semantics. To be more precise, it rather follows an “extensionally represented” content – mediated in its different meta-textual form – which, on this level, is interpreted from extra-literary, mainly ideological, standpoints.
6
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Hrubanova novotomistická estetika v olomoucké Filosofické revue

63%
Pospíšil Z.
Studia theologica
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2005
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vol. 7
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issue 3
63-78
EN
Jaroslav Hruban (1886-1934), a follower of Otakar Hostinsky, is an unjustly marginalized Czech aesthetician, even though his work shows a considerable body of philosophical, psychological, and aesthetic learning. The lack of interest in Hruban's thought might be explained by the fact that he lived a secluded life outside the main cultural centers (in Uhersky Brod), did not work at a university, and was a theorizing aesthetician of a speculative orientation in an age promoting positivism, empiricism, and interest in the form and structure of art. His 'Introduction to Aesthetics' (Uvod do esthetiky) (1915) is the first Czech attempt at a philosophy of aesthetic values, which, eventually, became the major subject of his work - 'The Essence of Aesthetic Value: A Contribution to the Metaphysics of Aesthetics' (Zaklady esteticke hodnoty: Prispevek k metafysice estetiky) (1930). Hruban's aesthetics was greatly indebted to Kant's transcendental psychology and Volkelt's theory. Since the late 1920s Hruban had drawn inspiration from the Thomist teaching represented in particular by J. Maritain. The scholastic thought was the common denominator of his texts published in the Philosophical Review (Filosoficka revue), a Thomist-oriented quarterly established by Dominicans in Olomouc in 1929. He perceived art as a 'servant of transcendence' and the supreme manifestation of human mind. Beauty, in his understanding, equally pertained to the universe of transcendence, to the supersensory, metaphysical order. He strove for such an aesthetics that would - in terms of neo-Thomism - remove the antithesis of the sensual and the spiritual, the physical and the metaphysical, the naturalist and the idealistic. The aesthetic value acted as a mediator between the two worlds. A profound humanism of his work, together with some aspects interesting from the scholarly point of view, proves a number of his ideas can potentially address the present audience. The terms aesthetic culture or the aesthetic were well ahead of their time.
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
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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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