7 found

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  1.  6
    KOPČÁKOVÁ, Slávka – KVOKAČKA, Adrián. : Súradnice Estetiky, Umenia a Kultúry III – Európske Estetické Myslenie a Umelecká Tvorba: Pramene, Metamorfózy a Ich Relevancia. Studia Aesthetica XVII. [REVIEW]Kateřina Dytrtová - 2018 - ESPES 7 (1):57-61.
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  2.  13
    How distinction between work and object helps us in ontology of art?Ján Hrkút - 2018 - ESPES 7 (1):2-9.
    The ontological question challanges the nature of the existence of works of art. The text presents basic questions that meaningfuly put questions about the ontological nature of art. It also examines the hypothesis of the physical object and R. Wollheim's arguments against this hypothesis. The essence of the article is the reconstruction of P. Lamarque's approach, which in his book, Art & Object, distinguishes these two elements as key to explain how works of art exist. The object is considered to (...)
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  3.  12
    “Now lett your constancy your honor prove...”: “Constant Art” of Lady Mary Wroth.Martina Kastnerová - 2018 - ESPES 7 (1):10-23.
    The paper intends to analyse developing of the literary representation of women in Elizabethan and Jacobean culture, forming an integral part of female authorship during this period. However, instead of taking aim at the male poetic tradition, the genius of Wroth is to absorb it and use it for her own ends. Reclaiming the virtues of the woman through constancy, she upends the conventional views of the woman. Thus, Wroth strengthens the autonomy of the woman by allowing her to make (...)
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  4.  13
    The Aesthetic Idea as the Essence of the Aesthetic.James Kirwan - 2018 - ESPES 7 (1):24-29.
    This paper suggests that Kant’s concept of the ‘aesthetic idea’ is a useful starting point for understanding the nature of aesthetic experience once we reject the formalist interpretation that Kant gives to the relationship between those ideas and that experience.
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  5.  10
    Cubism: Art and Philosophy.Dan O’Brien - 2018 - ESPES 7 (1):30-37.
    In this paper I argue that the development of cubism by Picasso and Braque at the beginning of the twentieth century can be illuminated by consideration of long-running philosophical debates concerning perceptual realism, in particular by Locke’s distinction between primary and secondary properties, and Kant’s empirical realism. Daniel-Henry Kahnweiler, Picasso’s dealer and early authority on cubism, interpreted Picasso and Braque as Kantian in their approach. I reject his influential interpretation, but propose a more plausible, Kantian reading of cubism.
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  6.  25
    Aesthetics of Photography in the Era of Instagramism.Michaela Pašteková - 2018 - ESPES 7 (1):38-46.
    For students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. Lev Manovich calls this modern phenomenon Instagramism. In our paper we look at the basic features of his aesthetics. Than, we will compare how established artists such as Cindy Sherman, (...)
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  7.  12
    Reconsidering Ingarden’s Contribution to European Aesthetics: Aesthetic Experience and the Concept of Encounter.Małgorzata Anna Szyszkowska - 2018 - ESPES 7 (1):47-56.
    Entering the discussion about European Aesthetic traditions, their aspirations and achievements, their metamorphosis and developments, author argues in favor of acknowledging the importance of what in her opinion should be seen as milestone in Polish tradition of aesthetics. One such important element of European Aesthetic tradition that author wishes to acknowledge is the phenomenological aesthetics developed by Roman Ingarden in the 30-ties and especially two concepts which best show lasting power of Ingraden’s contributions. Author describes the concept of aesthetic experience (...)
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