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ŽIVOTASCHOPNOSŤ JEDNÉHO PRÍSTUPU. POZNÁMKY KU KANTOVSKEJ LÍNII INTERPRETÁCIE KATEGÓRIE VZNEŠENÉHO

100%
Kvokačka A.
ESPES
|
2012
|
vol. 1
|
issue 1
17 – 23
EN
This paper pursues transformation of Kant's definition of the category sublime in post-Kantian aesthetic reflexion. Finding this line of thinking (Herder, Schelling) allows not only present relevant approaches to the whole history of the aesthetic category, but also to show the platform for new thinking not only in aesthetic discourse, but wherever the sublime enter today at the core of interest (art, ethics, etc.).
2
Content available remote

ŽIVOTASCHOPNOSŤ JEDNÉHO PRÍSTUPU. POZNÁMKY KU KANTOVSKEJ LÍNII INTERPRETÁCIE KATEGÓRIE VZNEŠENÉHO (POKRAČOVANIE)

88%
Kvokačka A.
ESPES
|
2013
|
vol. 2
|
issue 1
20 – 26
EN
To elaborate the intention of previous contribution, this paper opens again the problem of reception of Kant's definition of the category sublime. Variations which perform Schopenhauer, Nietzsche and Adorno represent some innovative approaches. Bridging the history of this aesthetic category in the 20th century in theirs thinking, represents functionality of the sublime, which we observe through the transformations in artistic and aesthetic discourse and which encourages us to contemporary revaluation of this concept.
3

VYNÁRANIE VZNEŠENÉHO

88%
Tomašovičová J.
Filozofia (Philosophy)
|
2008
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vol. 63
|
issue 7
592-599
EN
J. F. Lyotard described several transformations in art history and pointed out, that the motive power of contemporary art, i.e. modern and postmodern arts, is the sublime. What does this esthetical category mean, if not that to what the common concepts, such as inspiring, admirable, or the transcendent refer? The attention is paid to Kant's articulation of the category in his 'Critique of Judgment'. Points of identity as well as of difference are searched between Kant's conception and the reflections on the problem by J. F. Lyotard, who drew on B. Newman and provided an ontological interpretation of the sublime.
4
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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
|
2010
|
vol. 47
|
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.
5
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ODKRÝVANIE ESTETICKÉHO CHARAKTERU (VEĽKO)MESTA AKO KRAJINY: MESTSKÝ ENVIROMENT V POKANTOVSKEJ ESTETIKE 21. STOROČIA

75%
Kvokačka A.
ESPES
|
2013
|
vol. 2
|
issue 2
17 – 22
EN
The contribution has several aims. In addition to the discussion that follows variability of the concept of landscape and its relationship to the category of environment (particularly with regard to the urban environment, where it appears the concept of environment as a more adequate) the contibution focuses on the specific problem of the current aesthetics: transformation of aesthetic reflection of the city as a whole, which is realized by the contemporary aesthetics and philosophy through the Kantian aesthetics in Critique of Aesthetics Judgement. Elaboration of opinions of Marie Rubene and Miroslav Marcelli leads us not only to summarize the conclusions of recent theses, but further to reflect the transformation of (mega)city to a country, specific environment free from original effectiveness, where "human returns to natural and becomes a sort of huge subject, which is fluid in its inside ..."). Reflection is primarily guided by the category of sublime as an explanatory framework.
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