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Pavel Zahrádka (ed.): Estetika na přelomu milénia

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Ciporanov D.
Filosofický časopis (Philosophical Journal)
|
2014
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vol. 62
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issue 2
237-263
EN
Pavel Zahrádka’s anthology offers a choice of translated studies in aesthetics and provides (and to a certain extent also, naturally, creates) a picture of the contemporary state of such studies based on the character of interdisciplinary work. The collection, which is gathered into nine thematic sections, covers such key themes as philosophical aesthetics and questions of the recently instituted (copyright as a philosophical-aesthetic problem) or the resurrected (the aesthetics of nature). It presents a rich palette of approaches, methods and themes which makes up the field of contemporary aesthetic research. This review study offers a commentary on the overall concept of the collection in the context of analogous foreign publications and gives a résumé of individual thematic sections, while it focuses in detail on select parts of the antho­logy, which represent a relatively contemporary understanding of the traditional key problems of general aesthetics (ontology, definition and the value of art).
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Borges, James a Proust mezi Krabicemi Brillo. K místě literatury ve filozofii umění Arthura C. Danta

75%
Lojdová Š.
Slovo a smysl - Word & Sense
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2024
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vol. 21
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issue 44
138-151
EN
This paper focuses on Arthur Danto’s approach to literature. One of the leading philosophers of art in the analytical philosophical tradition, Danto published on art ontology, defining art and art historicity as well as serving as an art critic for the magazine The Nation in the late phase of his career. The essence of Danto’s philosophy thus lies in the visual arts, and it seems he was not interested in literature from a philosophical point of view. However, following Garry L. Hagberg, I show that Danto was not only a keen reader but also reflected on literature, its specificity, and its role. In the first part of the paper, I scrutinize what — in Danto’s view — is a literary work of art, and I compare his position to the view of New Criticism. In the second part, I explore the often neglected dimension of Danto’s philosophy of art, i.e., the spectator’s emotional response to an artwork. I argue that Danto draws on works of literature to illustrate the nature of this response for the reason that they provide the basis for a deeper understanding in this context.
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