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1

"Denaturalized" Mimesis

100%
Zuska V.
Estetika: The Central European Journal of Aesthetics
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2006
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vol. 42
|
issue 1-3
46-51
EN
The traditional theme of mimesis as a fundamental factor in art, art theory, and aesthetics has undergone many changes of meaning, ups and downs. The present article traces the development of the idea from the point of view of the understanding and appreciation of natural beauty. An inquiry into the relationship between art and reality, that is, mimesis, and the question of the order, reveals two lines of development and their point of bifurcation in Kant and Hegel. The Hegelian line heads towards structuralism, semiotics, semiology and linguistics, to a reduction of orders into standardized norms and epistemes, where the auto-referentiality of art is accented. The Kantian notion of mimesis as 'imitation', which understands the aesthetic idea of the natural order enables the transcendence of episteme and the presentation of the order in the state of becoming. This approach restores the true nature of art.
2

Konrad Lorenz: From Aesthetics to Environmental Protection

100%
Stibral K., Stella M.
Estetika: The Central European Journal of Aesthetics
|
2006
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vol. 42
|
issue 1-3
4-18
EN
The article is concerned with links between the ideas of Konrad Lorenz (1903-1989) and several topics in aesthetics. Lorenz was one of the most interesting and influential biologists of the twentieth century, and aesthetics played an important role in his work. The first part of the article considers the characteristic features of 'Lorenz's aesthetics'. His thinking follows on from Darwin and Darwinian ideas, and also reveals the strong influence of traditional German ideas of nature (for example, those of Goethe). For Lorenz the beauty or attractiveness of natural objects is always linked with usefulness, but not strongly determined by use. Bird songs, for example, are more beautiful, more complicated when they are sung without a purpose. Lorenz also based his theory of aesthetic perception on Gestalt psychology, thus placing emphasis on the whole. Landscape is more beautiful when its complexity and its 'health' are on a higher level; a landscape without biodiversity or one that is too simple (for example, industrial, modern agricultural, or monocultural landscapes) are objects of low aesthetic value. In the second part of the article the author traces some of Lorenz's ideas on the origin of art and culture. Lorenz links these origins with play (following on from Friedrich Schiller) and ritualized behaviour supported by 'Funktionslust' (delight in performing a skill well), which grows in the process of mastering complicated movements. For Lorenz, ceremonies (or rituals) bind human (and animal) society together.
3
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Znovuzrození přírodní krásy: Ronald W. Hepburn

100%
Dadeik O.
Estetika: The Central European Journal of Aesthetics
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2007
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vol. 44
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issue 1-4
2-27
EN
The article considers the changing status of natural beauty in the twentieth century. This situation is presented with reference to extreme changes of interest connected with this field of value. The article begins by exploring some current theoretical presuppositions concerning this field (primarily the problem of making a distinction between artistic and natural aesthetic value considered within one aesthetic field). The focus of the following sections is on a pioneering text, which ended a long period of indifference to natural beauty - namely, Ronald W. Hepburn's 'Contemporary Aesthetics and the Neglect of Natural Beauty' (1966). This famous essay is considered in relation to both the general problem of the distinction and the subsequent development of models of the aesthetic appreciation of nature in the second half of the twentieth century (chiefly, the natural environmental model of Allen Carlson and environmental formalism), which were profoundly anticipated by Hepburn.
4
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PRÍRODNÉ KRÁSNO U TH. W. ADORNA: V ZÁVISLOSTI A OPOZÍCII VOČI SVETU PANSTVA

88%
Brezňan P.
ESPES
|
2020
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vol. 9
|
issue 1
5 - 15
EN
Th. W. Adorno’s aesthetics represents a comprehensive reflection on a number of important topics in aesthetic research. Among them is the issue of the aesthetic experience generated by the beauty of nature. In the perspective of Adorno’s theory, the experience of natural beauty is described as a quality that forms in an immanent relation to the historical and social reality of humans. In the first place, one can observe the fundamental dependence of natural beauty on the degree of social domination of nature. By failing to reflect on this social mediation, the experience of natural beauty appears to be immediate and creates the deceptive fantasy of the primordial form of nature. However, at the same time, Adorno uncovers a positive potential in the experience of natural beauty – it lies in the ability to transcend a power-based subjectivity that reduces reality to the substrate of the domination. By means of the transcendence of subjectivity, the experience of natural beauty opens up the possibility to perceive and approach reality in the unreduced fullness of its qualities while also anticipating a reconciliation of man with nature in an allegorical way. The aim of my study is to describe the sketched aspects of the experience of natural beauty.
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