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Hume and the Question of Good Manners

100%
Stanek J.
Estetika: The Central European Journal of Aesthetics
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2009
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vol. 46
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issue 1
29-48
EN
The question of manners is important in David Hume's examination of human nature primarily because of the weight he assigns to the so-called 'social virtues'. Man is, for Hume, a being that naturally tends to form societies, and the study of human nature is, after all, the study of human sociability, which finds its expression in manners. The present paper shows Hume as a participant in the seventeenth and eighteenth-century discussion about the concept of politeness, a concept which oscillated between the domain of manners and morals and the domain of art. The examination of Hume's ideal of polite manners illustrates the way his classicist taste pervaded the appreciation both of works of art and of social comportment.
2

POZNÁMKY KU KLASICKEJ ESTETIKE PERCEPCIE A VKUSU

100%
Žilinek J.
Organon F. medzinárodný časopis pre analytickú filozofiu
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2012
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vol. 19
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issue 1
38 – 54
EN
The aim of this paper is to show how to perceive the art and the influence of perception of it on human’s taste in so called standard aesthetics. The author starts with discussing levels of human’s perception. Then he turns to the question what is practise and theory contributing to the (aesthetic) taste. He distinguishes between aesthetic pleasure and aesthetic experience. Next he argues that the (aesthetic) taste has subjective content. The taste is a complex or collection of aesthetic judgements (reasons).
3
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CHO JIHOON’S KOREAN AESTHETICS: THE CONCEPT OF ‘MEOT’

100%
Kim S.
ESPES
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2022
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vol. 11
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issue 1
40 - 49
EN
Cho Jihoon’s aesthetics is based on the Confucian literati’s spirit, choesado, and on the Buddhist idea of non-duality. He presented the theory of meot, meaning taste originally, as a Korean-specific aesthetic category in his Study of Meot, where he synthesized the previously discussed theories of other scholars into twelve elements. Discussing the formal characteristics of works that have the aesthetic quality of meot, he took unrefinedness as basic and cited diversity, eurhythmy, and curvature as its sub-traits. Discussing the compositional power or method of expression that provokes meot, he took hyper-standard as basic, and the sub-traits include maturity, distortion, and playfulness. Furthermore, he discussed meot as an emotion or idea that Koreans live with, where the most basic one is otiosity (impracticality), and assimilation, moderation, and optimism are its sub-traits. Finally, he identified meot as the ultimate aesthetic state with pungryu, a lifestyle in harmony with Nature, which is originated from the ancient Silla period.
4
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Smak i geniusz. Teoria piękna Alexandra Gerarda

88%
Wawrzonkowski K.
Filo-Sofija
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2008
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vol. 8
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issue 8
105-120
EN
The article deals with Alexander Gerard’s theory of beauty and his analysis of the categories of taste and genius. Gerard begins his enquiries with delineating a distinction between external and internal senses. The former category includes five traditionally named senses, while the latter are: novelty, sublimity, beauty, imitation, harmony, oddity and virtue. According to Gerard, internal senses are a sort of particular, intermediate tastes, which due to harmonizing with each other, create the taste proper. Therefore, the taste’s sensitivity and proficiency in judgment making depends to a large extent on particular tastes. Reconstructing the draft of Gerard’s theory of beauty the author of the article describes particular types of this aesthetic category: the beauty of shape, the beauty of proportion and the beauty of colour. Also, the author points out some relations between taste and genius. Moreover, by virtue of some similarity between Kant’s philosophy and the earlier British tradition, the author compares Kant’s and Gerard’s theories on the role of genius in creativity.
5
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Kwestia niesmaku. Czeski kamp

88%
Firlej A.
Bohemistyka
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2015
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vol. 15
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issue 1
65 - 72
EN
In this essay I propose to consider 'kamp' style - on the example of chosen phenomena from the Czech culture - understood as a universal act of rebellion against the dictatorship of the so-called "good taste" and as a pressure of "Dionysians" on exclusive company of "aristocrats of the spirit". If the history of art is actually the history of changing taste, the 'kamp' current must be the perpetual and protean phenomenon. I propose to treat kamp as a type of avant-garde gesture in the broad sense, based on the trend of democratization, in many respects analogous to the phenomenon against which it acts (this is characteristic for each revolution and for her brother: carnival). Ostentation, mocking rejection of the canon and dismantling of the dominant determinants of taste become the methods of fight. Artistic kitsch, mannerism, parody or subversive practices are the most frequent expressions of kamp. In the essay I present the work of artists from Czechoslovakia and the Czech Republic after World War II: photographer Jan Saudek, film duo Oldrich Lipský and Jiří Brdečka, playwright David Drábek and showman Daniel Nekonečný, considering it as a socially committed acts carried out in the framework of the "revolution of disgust".
6
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Społeczne uwarunkowania gustów i praktyk konsumpcyjnych. Zbieżność pozycji społecznych i stylów życia czy autonomizacja kultury?

75%
Cebula M.
Studia Socjologiczne
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2013
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issue 2(209)
97-125
EN
The article reflects on the relationship between social sphere (social standing) and cultural configurations such as tastes, practices and consumption orientations. It is raised a problem whether traditional sociological concepts (e.g. social position, class membership or status) are still relevant to a description of cultural differentiation or otherwise differences in cultural taste and consumption are losing their grounding in social stratification. As a point of departure three main arguments concerning the relationship between social structure and cultural variables were considered: i.e. a) ‘homology’ argument, b) ‘individualisation’ or ‘neotribalism’ argument, and c) ‘omnivorousness’ argument. The relevance of structuralist approach to consumption is considered from the point of view of Pierre Bourdieu’s social theory. Contrary to some current theories of mass or postmodern culture, the results of analysis sustain the view that traditional social cleavages (including social class) still play an important role in structuring consumption and lifestyles. Consumption and culture serve as a consequential site for the reproduction of social divisions, inequalities and domination.
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