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  1. 2 Studia Gilsoniana

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  1. 2 Ziółkowski W.

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  1. 2 2016

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JÓZEFA TISCHNERA KONCEPCJA TRAGEDII ESTETYCZNEJ: OCZAROWANIE I UWODZENIE

100%
Ziółkowski W.
Studia Gilsoniana
|
2016
|
vol. 5
|
issue 2
345-363
EN
The article analyzes essential factors for Józef Tischner’s conception of aesthetic tragedy, namely enchantment and sedution. For Tischner, the aesthetic tragedy takes place in the realm of interpersonal relations. The article describes the discoverer of the beauty as the one who becomes aware of that he cannot appropriate the beauty discovered; nevertheless, he still hopes that there must be a form of persuasion able to convince the beauty to be his possession voluntarily. According to Tischner, the way in which the enchanted and the beauty discovered by him seek to possess each other is the relation of seduction. Seduction, however, by its nature is a paradoxical phenomenon; for it is always associated with the consciousness of a renouncement which is to come. The fact that the artist and his work are doomed to part shows that the aesthetic tragedy is a drama not only of the work, but also of the artist; it is their mutual tragedy which stems from an illusory hope for the overcoming of the irremovable necessity of parting. The act of seduction undertaken in hope for having each other as a property becomes the reason of a parting for participating subjects, a parting which—according to Tischner—is announced in drama as the bane of man.
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Józefa Tischnera koncepcja tragedii estetycznej: potępienie i usprawiedliwienie

100%
Ziółkowski W.
Studia Gilsoniana
|
2016
|
vol. 5
|
issue 3
527-543
EN
The article undertakes an attempt to unveil the tragic nature of beauty as present in Józef Tischner’s conception of aesthetic tragedy by reflecting on the aesthetic condemnation of the artist and forms of justification sought by him in the realm of beauty. The performed analysis are focused on the course of aesthetic tragedy, beginning with conditions of its coming into being, through forms of its expression, concluding with its term achieved by the parting of its subjects (the artist and his work of art). According to Tischner, it is possible for the artist condemned by his own work of art to find the way out from the framework of aesthetic horizon and all it contains within itself. The artist can overcome his aesthetic condemnation in two ways: he can either disprove the condemnation and demonstrate its falsehood, or replace the beauty in the structure of “the aesthetic I” with some other high value.
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