Książka, pierwsza z nowej serii „Estetyka. Pomiędzy tradycją a współczesnością”, powstała we współpracy dwu środowisk estetycznych: z Uniwersytetu Mikołaja Kopernika w Toruniu i z Uniwersytetu Warszawskiego. Estetycy toruńscy i warszawscy konfrontują swoje spojrzenia we wspólnym celu, jakim jest wskazanie na aktualność myśli Kanta zarówno w kontekście historycznym, jak i problemowym. Tytułową „aktualność” należy rozumieć przede wszystkim jako to, co jest czynne, co realizuje się w konkretnej postaci. Zebrane w książce rozprawy dzielą się na trzy podstawowe grupy: studia poświęcone aktualności estetyki (...) Kanta w myśli nowożytnej, analizy współczesnych aktualizacji wybranych pojęć z "Krytyki władzy sądzenia" oraz propozycje uaktualnień niektórych z Kantowskich odkryć w kontekście filozoficznej oraz artystycznej ponowoczesności. (shrink)

This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue from the (...) perspective of artistic practice, I interpret Honore de Balzac’s short story “Chef-d’oeuvre inconnu”. In conclusion I show that aesthetic consciousness establishes an affective and receptive dimension that is no longer logocentric. This is the main reason why modern phenomenology should focus on the problem of aesthetic experience. (shrink)

This essay discusses certain problems raised by Edmund Husserl’s conception of meaning with regard to the analysis of aesthetic experience. By referring to Jacques Derrida’s critique of phenomenological idealism I show that the metaphor of “stratification”, adopted by Husserl in his “Ideas” to a problem of discursive expression, if applied to the analysis of a work of art i.e. painting, allows to avoid the objection of “metaphysics of presence” commonly raised towards the phenomenological method.To present the major issue from the (...) perspective of artistic practice, I interpret Honore de Balzac’s short story “Chef-d’oeuvre inconnu”. In conclusion I show that aesthetic consciousness establishes an affective and receptive dimension that is no longer logocentric. This is the main reason why modern phenomenology should focus on the problem of aesthetic experience. (shrink)

In this essay, I trace different motives in Alicja Kuczyńska’s thought that are linked together in her philosophy of image. According to Kuczyńska, the creative power of forming artistic images is deeply rooted in existential experience that can be described in terms of finitude, fragmentality, evanescence. The desire to find a way out of such a state is the origin of philosophical as well as artistic creation. It is hope which joins together the individual wish or desire and culture. Hope (...) can be treated as yearning for indeterminacy that is characteristic of existence, as longing for the state of lost totality. (shrink)