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 (...) be a medium, but from the point of view of pure objects, artwork does not exist. Lamarque argues that art occurs where there is also cultural and institutional understanding of objects as works of art. (shrink)

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 (...) the decision to accept a role subordinate to man. (shrink)

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.

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.

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, (...) Richard Prince and Czech photographer Libuse Jarcovjakova work with Instagram and in which ways their approach is different from the co-called Instagrammers. (shrink)

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 (...) used by Ingarden in his lectures on aesthetics and its persuasive application to the field of music and literature. She suggests that its meaning deserves to be further explained and appreciated. It is argued that contemporary cognitive theories of aesthetic experience come very close to what Ingarden discovered and outlined in this writings without ever acknowledging preceding examples of complex approaches to aesthetics experience. Author suggests that one more concept from Ingarden’s aesthetics should be appreciated. It is the concept of aesthetic encounter between author, performer and the listener/recipient that Ingarden tried to introduce as the important category for aesthetic research. These concepts where meant to be discussed and researched across different areas. Underling the differences and developments within European aesthetics in the last century author stresses the achievements and aspirations of axiologically orientated aesthetic theory of Ingarden and purports to affirm its lasting contribution to the European tradition. (shrink)