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Gustus Spiritualis: Remarks on the Emergence of Modern Aesthetics

100%
Szécsényi E.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 1
62-86
EN
The article considers the concept of gustus spiritualis, in particular its possible historical connection with (aesthetic) taste in the seventeenth century. By ‘aesthetic’, I mean a radically modern phenomenon, attitude, sensibility, and so forth, that is, a new type of experience. Its discourse has many keywords; one of them is taste, an inner faculty by which its possessor is able to make sharp and proper distinctions, and simultaneously to enjoy fine delights. Here, I am obliged to confine myself to the interpretation of some Jesuit authors within the wide tradition of gustus spiritualis: St Ignatius of Loyola, St Francis de Sales, Baltasar Gracián, and Dominique Bouhours in sequence. The latter two are usually treated in the historical narratives of aesthetics, which, however, usually take gustus/gusto/goût as if it were a purely secular (moral, political) notion in the seventeenth century, while its theological roots are ignored. Exploring the role of gustus spiritualis in the evolution of (aesthetic) taste can cast light, on the one hand, on the important fact that this entails volition, that is, the determination and enchantment of human desire and hope without constraint; and, on the other, on the historical process of the emergence of a new type of ‘beholder’ with a sensitive attitude to transcendence, and, in the same manner, to his or her worldly life as well; moreover, it is a process in which, simultaneously, the nature of transcendence is transformed into a tastable one.
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From Bullfights to Bollywood : The Contemporary Relevance of Jean-Baptiste Du Bos’s Approach to the Arts

88%
Evans B.
Estetika: The Central European Journal of Aesthetics
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2018
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vol. 55 (New Series 11)
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issue 2
180-197
EN
This paper takes up the somewhat neglected work of one of the earliest pioneers of modern European aesthetic theory, Jean-Baptiste Du Bos. It aims to correct views in which Du Bos is pigeon-holed as a ‘sentimentalist’, dismissed as a radical subjectivist, or, at best, acknowledged as an influence on the more important work of David Hume. Instead, it presents Du Bos as an original thinker whose highly intuitive approach to the arts is still relevant to contemporary concerns, and can be favourably contrasted with the tradition of disinterested, universalist aesthetics that rose to such strong prominence in the century following his work. It highlights several of his ideas that have not received sufficient attention, including his emphasis on boredom as a motivation for turning to artifice, his notion of the ‘artificial emotions’ that can result from such encounters, his community-based conception of taste, his faith in the general public as legitimate judges of artwork, and the importance he places on different forms of interest when thinking about art. In the course of this discussion, Du Bos’s work is presented as presciently questioning clear cut distinctions between ‘high’ and ‘low’ cultural spheres, as well as exploring contemporary questions about the constitution of ‘the public’ and the legitimacy of its judgement. It also argues that the vocabulary of ‘artificial emotion’ can be as helpfully applied to the increasingly sophisticated world of mass entertainment as it can be to the world of contemporary art.
3
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Much ado about Chopin. Discussion in the Warsaw press from 1830

75%
Strzyżewski M.
Interdisciplinary Studies in Musicology
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2010
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issue 9
19-30
PL
During his Warsaw period, the music of the young Chopin was enthusiastically and even feverishly received. And it drew considerably interest from the critics. However, attention should be drawn to the crucial cultural factors that largely determined the quality of that critical reflection. Above all, this was a quite specific period in the history of the nation. The language o f criticism gives a fair reflection of moods in the country: growing patriotic emotions, freedom rhetoric and Romantic spirituality. Added to this, Polish music criticism (in contrast to German criticism) had yet to develop distinctive forms of discourse, but was still seeking a suitable language for the description of music. One may even gain the impression that music criticism was maturing together with the young virtuoso and offering a “youthful” discourse strung out between literary metaphor depicting the scale of listeners’ emotions and impressions and specialist description of playing and composition technique. One also notes a growing tension between “amateurs” and “professionals”, leading to polemic and discussion. It was a most interesting period in the history of Polish critical reflection, one which obliges the scholar to maintain a broad humanistic perspective over the many cultural phenomena of that time (philosophical, literary, artistic and political) which helped to forge the spirituality of Polish romanticism.
4
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Teze o apriorním zdroji pocitu vznešena u Karla Heinricha Heydenreicha a její předobraz v Kantově pojetí úcty

75%
Policar A.
Filosofický časopis (Philosophical Journal)
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2022
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vol. 70
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issue 1
43-58
EN
Karl Heinrich Heydenreich (1764–1801), a now almost forgotten German thinker of the late Enlightenment, attempted his own transcendental-philosophical definition of the aesthetic category of the sublime in the article “Grundriß einer neuen Untersuchung über die Empfindungen des Erhabenen” (1789), which preceded Kant's Critique of Judgment by a year. Thanks to this endeavor, he was often described in the history of aesthetics as being a Kantian in aesthetics before Kant, but his article has not to this point received a detailed analysis. The present study shows that, in particular, Kant's moral-philosophical concept of respect for moral law played a crucial role in Heydenreich's reflections on the sensation of the sublime as a product of pure reason.
CS
Karl Heinrich Heydenreich (1764–1801), dnes téměř neznámý pozdně osvícenský německý myslitel, se v článku „Grundriß einer neuen Untersuchung über die Empfindungen des Erhabenen“ (1789), jenž o rok předcházel Kantově Kritice soudnosti, pokusil o vlastní transcendentálně-filosofickou definici estetické kategorie vznešena. Díky tomuto počinu byl sice v dějinách estetiky nejednou líčen jako kantián v estetice před Kantem, podrobné analýzy se však jeho článku dosud nedostalo. Předložená studie ukazuje, že zásadní roli v Heydenreichově úvaze o pocitu vznešena coby produktu čistého rozumu sehrál zejména Kantův morálně-filosofický koncept pocitu úcty k mravnímu zákonu.
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Carl Heinrich Seibts Prager Vorlesungen aus den Schönen Wissenschaften.Zu den Anfängen der universitären Ästhetik in Böhmen

63%
Hlobil T.
Estetika: The Central European Journal of Aesthetics
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2010
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vol. 47
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issue 2
172-193
EN
Carl Heinrich Seibt (1735–1806) was the founder of modern Bohemian aesthetics, that is, thinking about taste, beauty, and fine art, which he developed in a living language. Yet little is known about the content of his lectures on the Schöne Wissenschaften or his views on aesthetics. The following article aims to fill this gap in four respects. It explains why the topic has so far been neglected; it gives a summary of the now known sources from which we may draw our knowledge of the topics of art theory, the individual kinds of art, and general aesthetics, with which Seibt was concerned in his lectures. It presents the standpoints which he held in them, and it puts them into the European context of the period, particularly German aesthetics. It aims primarily to determine whether the accessible sources contain traces of influences other than those of his teachers at Leipzig, who are mentioned in the secondary literature: Johann Christoph Gottsched (1700–1766) and Christian Fürchtegott Gellert (1715–1769), including the important authorities recognized by them, in particular Charles Batteux (1713–1780). The article shows that Seibt’s views were also influenced by Moses Mendelssohn and Johann Joachim Winckelmann, representatives of a generation of German aestheticians younger than his teachers.
6
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Wiesław Juszczak. A Voice on the Matter

38%
Pieńkos A.
Rocznik Historii Sztuki
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2022
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issue XLVII
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