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    Wyświetlanie 1-6 z 6
    Tytuł:
    Of Darwin and Other Demons: the Evolutionary Turn in Aesthetics
    Autorzy:
    Seghers, Eveline
    Powiązania:
    https://bibliotekanauki.pl/articles/644731.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    evolutionary aesthetics
    philosophical aesthetics
    beauty
    sexual selection
    environmental aesthetics
    reductionism
    Opis:
    Evolutionary aesthetics attempts to explain the human ability to perceive objects, conspecif ics and the surrounding environment in an a es thetic manner - i.e. in an emotional and evaluative way resulting in a positive or negative appraisal - by referring to the evolutionary history of our functional, cognitive make-up. Research has mostly focussed on aesthetic considerat ions made during landscape assessment and on the role of aesthetic elements during mate choice. Criticism has been expressed repeatedly as to the naturalistic, presumed to be reductionist methods and outlook of an evolutionary approach to aesthetics. This paper briefly reviews the outline of evolutionary aesthetics research and discusses three such critiques - functionality in beauty judgement, reductionism, and the recognition of cultural and interindividual differences. It argues that philosophical aesthetics is not in danger of being unjustly reduced to a neurobiological explanation of aesthetic judgement and experience, and that evolutionary and traditional humanities approaches can be complementary in understanding our sense of beauty.
    Źródło:
    Kultura-Społeczeństwo-Edukacja; 2015, 8, 2; 73-90
    2300-0422
    Pojawia się w:
    Kultura-Społeczeństwo-Edukacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Artistic Research: Delusions, Confusions and Differentiations
    Autorzy:
    Früchtl, Josef
    Powiązania:
    https://bibliotekanauki.pl/articles/451321.pdf
    Data publikacji:
    2019-07-31
    Wydawca:
    Uniwersytet Warszawski. Wydział Filozofii
    Tematy:
    artistic research
    philosophical aesthetics
    non-propositional knowledge
    Kant
    Opis:
    Concerning artistic research, the state of affairs is still one of delusions and confusions. The reason for this is the pluralization and dedifferentiation of rationality pushed forward by the postmodern period. The way out of it is the way of differentiations. Thus, it seems helpful, first, to remember what we already have in philosophical aesthetics, namely four basic models of art and knowledge. The question, then, is whether artistic research fits into (one of) these models. To my mind, it does – though in a new way. Secondly, it is helpful to have a short sober sociological look at the situation. Finally, we have to ask the question about the kind of research that is at stake in artistic research. Here, the meaning of non-propositional knowledge and Kant’s idea of an as-if-knowledge is useful. All in all, artistic research still fails in giving a sufficient explanation of itself.
    Źródło:
    Eidos. A Journal for Philosophy of Culture; 2019, 3, 2(8); 124-134
    2544-302X
    Pojawia się w:
    Eidos. A Journal for Philosophy of Culture
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Imagine Being so Pretty and Getting No Happiness out of It! A Few Reflections on Beauty, Art and Artistic Creation in the Moomin Books by Tove Jansson
    Autorzy:
    Dymel-Trzebiatowska, Hanna
    Powiązania:
    https://bibliotekanauki.pl/articles/2031235.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Wrocławski. Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
    Tematy:
    Moomin books
    Tove Jansson
    double address
    philosophical aesthetics
    the act of artistic creation
    Opis:
    The article discusses fundamental aesthetic stances which Tove Jansson has adopted in her Moomin books, traditionally perceived as children’s literature. Nevertheless, the series is notably multi-addressed, and analyses of numerous scenes allow us to draw conclusions about the author’s own concepts of beauty and art, which are accessible to more experienced readers. As the study shows, Jansson’s approach does not correspond to one specific theory but rather inclines to perceptualism, emotionalism and hedonism. Furthermore, the article discusses the reflections on the act of artistic creation which the artist interwove predominantly into the characterization of Moominmamma and Moominpappa. In the traits of these two key characters she addressed aspects of her own two artistic domains, painting and writing. However, taking a stand on serious philosophical matters, she managed to retain an evident child-oriented address, demonstrating her unique mastery of double address.
    Źródło:
    Filoteknos; 2020, 10; 201-211
    2657-4810
    Pojawia się w:
    Filoteknos
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bolesław Miciński i Stanisław Ignacy Witkiewicz. Z dziejów intelektualnej i artystycznej przygody
    Bolesław Miciński and Stanisław Ignacy Witkiewicz: From the History of an Intellectual and Artistic Journey
    Autorzy:
    Zajączkowski, Ryszard
    Powiązania:
    https://bibliotekanauki.pl/articles/2097320.pdf
    Data publikacji:
    2022-06-30
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    psychoanaliza
    estetyka
    Czysta Forma
    szkoła lwowsko-warszawska
    esej filozoficzny
    psychoanalysis
    aesthetics
    Pure Form
    Lvov–Warsaw school
    philosophical essay
    Opis:
    Artykuł omawia wzajemne kontakty i wspólnotę myśli dwóch wybitnych pisarzy i filozofów Bolesława Micińskiego i Stanisława Ignacego Witkiewicza (Witkacego), którzy mimo dużej różnicy wieku byli blisko zaprzyjaźnieni. Podejmowane przez nich problemy odsyłają do międzywojennej atmosfery filozoficznej w Polsce i w Europie, a także do ożywionych dyskusji w gronie krytyków literackich i awangardowych pisarzy. Witkiewicz jako pierwszy Polak zapoznał się z psychoanalizą i znacznie wpłynął na jej znajomość u Micińskiego, choć ich sposoby rozumienia teorii Freuda wyraźnie się rozeszły. Miciński był też gorącym zwolennikiem teorii Czystej Formy, realizatorem jej założeń w swojej twórczości i rzecznikiem unaukowienia krytyki literackiej poprzez jej mocne osadzenie w filozofii. Witkacy patronował jego poglądom estetycznym wyłożonym najpełniej w nieopublikowanej pracy magisterskiej Rzeczywistość i jej deformacja w sztuce (1937) napisanej pod kierunkiem Władysława Tatarkiewicza. Obaj zdecydowanie opowiadali się przeciw wszelkiemu redukcjonizmowi w filozofii; byli przeciwnikami fizykalizmu Koła Wiedeńskiego oraz antymetafizycznego nastawienia szkoły lwowsko-warszawskiej. Zwłaszcza Miciński dostrzegał słabość myśli analitycznej i poszukiwał dla filozofii formy bardziej pojemnej. W końcowym okresie twórczości Micińskiego stanął w wyraźnej opozycji wobec totalitaryzmu i mechanizacji życia, co było znamienne również dla Witkacego. Dla autora Portretu Kanta Witkiewicz był z pewnością mistrzem w dziedzinie filozofii, wciąż jednak pozostaje otwarte pytanie, ile od swego młodszego przyjaciela zaczerpnął autor Szewców?
    This article describes mutual contacts and shared ideas of two outstanding writers and philosophers, Bolesław Miciński and Ignacy Witkiewicz (Witkacy), who despite a significant age difference were close friends. The philosophical problems they raised relate to the interwar intellectual atmosphere in Poland and Europe as well as lively discussions among literary critics and avantgarde writers. Witkiewicz was the first Pole to become acquainted with psychoanalysis; he made it significantly more familiar to Miciński, although their interpretations of Freud’s theory clearly diverged. Miciński was also a strong supporter of the Pure Form theory and realized its propositions in his works. He was also an advocate of a scientific approach to literary criticism through its firm grounding in philosophy. Witkacy was also a patron of his aesthetic views which were most fully set forth in an unpublished thesis, Reality and its Deformation in Art (1937), written under Władysław Tatarkiewicz’s supervision. They were both strongly opposed to any reductionism in philosophy; they were opponents of Vienna Circle physicalism and the anti-metaphysical approach of the Lvov–Warsaw school. In particular, Miciński saw the weakness of analytical thought and sought a more capacious form for philosophy. The final period of Miciński’s work shows a strong objection to totalitarianism and a mechanization of life which was also characteristic of Witkacy. For the author of A Portrait of Kant, Witkiewicz was surely a master of philosophy, but the question of how much was borrowed from the younger colleague by Witkacy, the author of The Shoemakers, remains open.
    Źródło:
    Roczniki Filozoficzne; 2022, 70, 2; 207-226
    0035-7685
    Pojawia się w:
    Roczniki Filozoficzne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Pozór malarstwa w poglądach estetycznych G.W.F. Hegla
    Autorzy:
    Drohomirecki, Andrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/644736.pdf
    Data publikacji:
    2015
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    aesthetics
    aesthetic appearance
    painting
    painting apparently
    a piece of art
    perceptual process
    a philosophical system of Georg W.F. Hegel
    Opis:
    The author refers to the term "aesthetic appearance," which was shaped in the mid-eighteenth century, mainly in German philosophy and aesthetics. He stresses that its appearance coincided, not without reason, with aesthetics be coming an autonomous philosophical discipline. That was the foundation for the subsequent understanding of aesthetics as the sc ience about art. The author is particularly interested in the philosophical system of Georg WF Hegel, for whom learning about art plays a special role - it represents just one of the many forms of knowledge, also being the first - in terms of quality and history - form of the development of self-awareness, ie. be coming a spirit. Ambiguity of the con cept of aesthetic appearance results from the inability to separate it from the  category of illusion, falsehood and truth, ideas, inscribed in the structure of each work of art. The art of painting does not escape this law. According to Hegel, implacable, phenomenal structure of painting is defined by the perceptual process itself. Paintings make us enter the current presence of daily life that is similar to our everyday lives, as well as they cut all the threads of needs and inclinations, likes and loathing and they show us these items in their specific fullness of life as goals for themselves. Painting, as a uniform pictographic visualization of subject and object proximity includes an immanent game providing knowledge and a kind of a semantic core.
    Źródło:
    Kultura-Społeczeństwo-Edukacja; 2015, 8, 2; 131-140
    2300-0422
    Pojawia się w:
    Kultura-Społeczeństwo-Edukacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Homo sum, humani nihil a me alienum puto – the imperative of the principle of humanitas in views on slavery derived from natural law. M.T. Cicero’s views on the subject of slavery and slaves
    Autorzy:
    Nowak, Olgierd Sebastian
    Powiązania:
    https://bibliotekanauki.pl/articles/1199199.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Papieski Jana Pawła II w Krakowie
    Tematy:
    Marcus Tullius Cicero
    philosophical works
    speeches
    Cicero’s letters
    philosophy
    law of nature
    natural law
    Roman Republic slavery
    slave status
    humanism
    humanity
    justice
    humankind
    social bond
    stoic doctrine
    ethics
    aesthetics
    sources of law
    Opis:
    The phenomenon of slavery existed throughout the entire period of the ancient world and met with interest from both Greek and Roman philosophers. Despite the emerging views of various philosophers criticizing slavery as a social phenomenon, no theory of slavery was formulated then. The philosopher who-, in both his works and correspondence, included numerous references to the situation of slaves and the institution of slavery was M.T. Cicero. Searching for humanism in Cicero’s views on the above-mentioned issue, attention was drawn to the principles of the Stoic doctrine, within which the concept of human freedom was formulated, and to the essence of natural law. These concepts made it possible to analyse the discussed problem in the context of the words of Terence Homo sum, humani nihil a me alienum puto. And as regards humanism in Cicero’s views, it is evident when he recognizes a human being in a slave; when he says that the principles of justice must be observed towards people from the lowest rank, which is the rank of slaves; when he firmly states that slavery is among the worst things that can happen to the human being. On the other hand, we see Cicero’s completely different views on slaves when he talks about punishing slaves, „keeping a tight rein on them,” or „destiny by nature for the best to rule others, and with great benefit for weaker beings”; also when he emphasizes his negative attitude towards the liberation of slaves. To conclude it should be emphasised that this characteristic feature of Cicero, namely his lack of uniformity of views on various philosophical doctrines, which we can also find in his views on slavery and the rank of slaves, does not prevent us from seeing a humanist in Cicero who, with his sense of justice, advocating the stoic doctrine and the principles of natural law, moved very slowly towards the stoic moral philosophy and all the ethical principles that Christianity would bring.
    Źródło:
    The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II; 2020, 11, 2; 155-186
    2391-6559
    2083-8018
    Pojawia się w:
    The Person and the Challenges. The Journal of Theology, Education, Canon Law and Social Studies Inspired by Pope John Paul II
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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