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1

K PROBLEMATIKE GEOMETRIZOVANIA KRÁSY A ESTETICKÝCH POJMOV

100%
Démuth A.
Filozofia (Philosophy)
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2020
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vol. 75
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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.
2
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MEDICINE AS ART: ART AND BEAUTY

100%
Niebroj L., Kruzlak M.
Archeus. Studia z bioetyki i antropologii filozoficznej
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2006
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vol. 7
39-47
EN
Medicine has been called art since ancient times. However, the term 'art' is still not clear when applied to medicine. The article aims to redefine the conception of art, taking into account its relation to the conception of beauty. In the traditional conception of art, understood as fine arts, beauty is its proper aim. When 'art' is understood as a 'craft' or 'trade', beauty is only one of its properties. In conclusion, there are indicated reasons why it would be better to describe medicine as craft rather than art.
3

Czy Królewicz Marko i jego pobratymcy byli bohaterami z krwi i kości?

88%
Jakóbiec-Semkowowa M.
Slavica Wratislaviensia
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2011
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vol. 153
83-93
EN
The problem of corporeality of heroes in the South Slav heroic epic is considered on the basic of the analysis of the series of songs from Kosovo about Royal Prince Marko and The Wedding of Maksim Crnojević. For comparison the old Russian and Ukrainian heroic songs (which are an example of East Slav epic) are included. Supernatural strength of plucky fellows, shown in the hyperbolical way, indicates the origin of these themes from the older legends and tales. In most cases the heroes’ appearance is replaced with the clothes description. Although sometimes the beauty, as it is in the case of The Wedding of Maksim Crnojević, plays the crucial role. The confrontation of the heroes of the song The Wedding of the King Vukašin is expressed as the number of metony-mies. The plucky fellows take care of their bodies and keep them clean. The most frequent way of showing the strength is the fight. The heroes use different kinds of weapons and also the body strength. The fights are cruel and sometimes they do not follow the rules of knight’s ethos.
4

Unitas Multiplex as the Basis of Plotinus’ Conception of Beauty

88%
Gal O.
Estetika: The Central European Journal of Aesthetics
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2011
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vol. 48
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issue 2
172-198
EN
The essay first succinctly points out shortcomings in previous interpretations of Plotinus' notion of beauty. Beauty is to be connected primarily with Intellect, which is to be understood as a special unity in diversity. The section of the essay devoted to aesthetics is therefore preceded by a short analysis of Intellect's unity and diversity. The hypothesis about the primary relation of beauty to the Intellect is then corroborated by a reading of Ennead V.8 and further developed. The emphasis is on three basic aspects of beauty: its being a unity of a mixture whose character is shared by all ontological levels; its function of referring to what is above it; and its fundamental accessibility. Though Plotinus opposes the Stoic notion of beauty as symmetry and stresses beauty's simplicity, it follows for him that beauty has the character of unitas multiplex, albeit a special one.
5

Piękno i obowiązek. Etyka ewolucyjna a estetyka darwinowska

88%
Chmielewski A.
Lectiones & Acroases Philosophicae
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2010
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vol. 3
175-201
EN
Metaphysics, or the knowledge of what there is, has been traditionally placed at the pinnacle of philosophical hierarchy. It was followed by theory of knowledge, or epistemology. Practical knowledge of proper modes of conduct, ethics, came third, followed by aesthetics, treated usually in a marginal way as having to do only with the perception of the beautiful. The hierarchy of philosophical disciplines has recently undergone a substantial transformation. As a result, ethics has assumed a central role. The aim of this paper is to suggest that the hierarchy of philosophical disciplines is not yet complete and that one further step needs to be taken. According to the claim advocated here, it is not metaphysics, epistemology or ethics, but aesthetics that is the first and foremost of all philosophical disciplines. This claim is argued for by references to findings of evolutionary aesthetics, especially to Charles Darwin’s idea of sexual selection as elaborated in The Descent of Man. I also argue that Darwinian approach to morality is, and should be, derivable from an Darwinian aesthetics which lies at the core of his conception of sexual selection.
6

TRI HISTORICKÉ MATEMATICKÉ PRÍSTUPY KU SKÚMANIU KRÁSY

88%
Démuth A.
Filozofia (Philosophy)
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2016
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vol. 71
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issue 9
759 – 770
EN
This study attempts to clarify the importance and function of mathematical statistics and mathematical thinking in early formation of modern aesthetics of the eighteenth century. The author focuses on three historical concepts of using the statistical and mathematical approach to beauty and aesthetic (taste) standard. The first one is Hume’s searching for taste standards based on his sensualism and his exceeding the individual subjective experience by statistical standardization of inter-subjective experience. Peculiar to this approach is an ambivalent understanding of the standard as a “mean” on one side and “excellence” on the other. The second model of aesthetic thinking is Reid’s aesthetic realism. The analysis of Reid’s works serves to show the roots of modern aesthetic cognitivism and the significance of scientific study of beautiful objects’ parameters. An important part of these considerations is the examination of ontological status of beauty and the term of “excellence” as “perfectness”. In conclusion, the author tries to highlight the mathematical and statistical algorithms of Kant’s creating aesthetic standards and aesthetic ideal in his Critique of Judgment. He also shows the potentials of the above mentioned approaches as far as the contemporary cognitive research in aesthetics is concerned.
7

La belleza femenina en las paremias espańolas de origen grecolatino

75%
Xavier Pascual X. P.
Estudios Hispánicos
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2011
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vol. 19
115-125
EN
Spanish proverbs are an unquestionable source of information about ideology prevailing in Spanish-speaking community’s mentality. Proverbs contain stereotypes, conceptions and a worldwide perception belonging to society that coined them. Here I intend to notice how a determined conception of women (specifically positive and negative aspects of feminine beauty) was already reflected in ancient Greek and Latin proverbs and literature, and how this image is still prevalent in Spanish proverbs deriving from classical ones.
8
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Die Lehren einer Fußnote.Die Wirkung der Ästhetik- und Gesellschaftstheorie von Burke auf die Ästhetikkonzeption von A. G. Szerdahely

75%
Balogh P.
Estetika: The Central European Journal of Aesthetics
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2010
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vol. 47
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issue 2
193-215
EN
This article discusses the early phase of the Hungarian reception of the aesthetic views of Edmund Burke. It does so by considering two reference works on aesthetics, one by György Alajos Szerdahely (1740–1808), the other by Johann Ludwig Schedius (1768–1847). Both authors were, in their day and later, well known amongst the scholars of Europe. Their reference works became university textbooks, and should therefore not now be neglected. The specialist literature has, however, to this day one-sidedly interpreted their conceptions as eclectic mixtures of German, English, and French works on aesthetics. In this article, the author seeks to surmount the poor methodology and unsatisfactory conclusions concerning the reception of foreign authorities in Hungarian aesthetics. She does so by using the example of Burke, reconstructing the context of the places that he is mentioned, presenting them as period topoi, and analysing the narrative strategies of the two Hungarian authors. These approaches allow her more profoundly to explore the relationship between Burke’s Enquiry and the two reference works. In the foreground of the comparison are the key terms ‘beauty’ and ‘the sublime’, the use of narration and metaphor, and also reflections on art, society, and sociability.
9
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Folklór z hľadiska estetických kategórií

75%
Hamar J.
Národopisná revue (Journal of Ethnology)
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2012
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vol. 22
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issue 4
239 – 245
EN
In the last decades, a lot of scientific disciplines have dealt rather with the folklore poetics than the folklore aesthetics. Such ideas were represented especially by literary scientists, ethnologists, linguists, and philosophers from the environment of the Prague Linguistics Circle, the Russian formalists and the Tartu School. In folklore, the presence of antique aesthetic tradition has been evident until today. The aesthetics of folklore is based on the archetype essence of folk art, which is symptomatic especially for literary folklore. For example, the space, the characters, the stories etc. dispose of predestined trajectories that are forming the entire theme and action and the topics and metaphoric of the story, the place, the characters, and their behaviour. This is simile to the aesthetic categories in folklore. Within folk environment, the aesthetic function plays an important role when the facts are adopted through cognition and feelings of beauty. Nowadays, folklore is losing the natural conditions of its existence, which directly endangers the syncretism nature of folk art.
10
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THESES TO THE FUSS ABOUT PRINCIPLES

63%
Bator A. P.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
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2016
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vol. 21
112-122
PL
TEZY DO AWANTURY O PRYNCYPIA Treścią tekstu jest przedstawiona w formie tak zwanej prozy poetyckiej wyimaginowana dyskusja na temat kondycji sztuki współczesnej, a ściśle rzecz ujmując, jej dominujących od kilku dekad cech: z jednej strony pomieszanie konwencji, labilność ideowa, wolność artystyczna czy alinearność, zaś z drugiej rezygnacja z funkcji dzieła jako próby zaspokajania sensu na rzecz wywoływania szoku estetycznego i poczucia moralnego zagrożenia.
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