Year:

  1.  6
    Beauty and Transcendence: From Plato to the Ideal.Paul Crowther - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):132-148.
    The Greek notion of beauty encompasses not only nature and artifice, but also the Good. This paper explains the connection by interpreting Plato in a way that allows his theory to be developed beyond the confines of his philosophy. It is argued that we could read his theory of beauty as based on fineness of appearance. This arises when a sensory particular transcends itself and suggests the presence of its sustaining Form, or when sophrosynē in human agency discloses the Good’s (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  2.  1
    J. Colin McQuillan, Early Modern Aesthetics.Botond Csuka - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):236-245.
    A review of J. Colin McQuillan´s Early Modern Aesthetics.
    Direct download  
     
    Export citation  
     
    My bibliography  
  3.  4
    Saving ‘Disinterestedness’ in Environmental Aesthetics: A Defence Against Berleant.Damla Dönmez - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):149-164.
    The old, historical concept of ‘disinterestedness’ has dominated the tradition of aesthetics for almost two centuries. In environmental aesthetics, a rather recent branch of aesthetics, some scholars such as Arnold Berleant have criticized disinterestedness, claiming that it is not a satisfactory criterion since it views the environment as an artwork. As an alternative, Berleant proposes a theory of the ‘aesthetics of engagement’. I claim that although his main intention is to introduce a comprehensive perception of nature, ‘appreciating nature as nature’, (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  4.  19
    Music-Specific Emotion: An Elusive Quarry.Jerrold Levinson - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):115-131.
    Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay a sixpart component model (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  5.  4
    Why We Need a Theory of Art.Annelies Monseré - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):165-183.
    In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  6.  4
    Jan Mukařovský: The Semiology of Art.Ondřej Sládek - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):184-235.
    An introduction to an English translation of Jan Mukařovský´s lecture The Semiology of Art. In this lecture Mukařovský, a Czech aesthetician, literary historian, theorist, and leading proponent of Czech structuralism, develops his interpretation of the semiotics of art from a detailed explanation of the basic functions of the artistic sign. He emphasizes the role of the aesthetic function, which is dominant but latently and potentially contained in all the other functions of the linguistic and the artistic sign. He then defines (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  7.  2
    Jozef Kovalčik and Max Ryynänen, Eds., Aesthetics of Popular Culture.Pavel Zahrádka - 2016 - Estetika: The Central European Journal of Aesthetics 53 (2):246-255.
    A review of Jozef Kovalčik´s and Max Ryynänen´s Aesthetics of Popular Culture.
    Direct download  
     
    Export citation  
     
    My bibliography  
  8.  13
    Unfit to Print: Contra Mag Uidhir on the Ontology of Photographic Artworks.Alexey Aliyev - 2016 - Estetika: The Central European Journal of Aesthetics 53 (1):3-13.
    According to the orthodox view, photographic artworks are abstract objects. This view, however, has recently been challenged by Christy Mag Uidhir. In his article ‘Photographic Art: An Ontology Fit to Print’, he argues in favour of a nominalist construal of photographic artworks. My goal is to show that Mag Uidhir’s argument is unpersuasive.
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  9.  14
    In Search of the Ontological Common Core of Artworks: Radical Embodiment and Non-Universalization.Gianluca Consoli - 2016 - Estetika: The Central European Journal of Aesthetics 53 (1):14-41.
    I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  10.  15
    John Gibson, Ed., The Philosophy of Poetry.Troy Jollimore - 2016 - Estetika: The Central European Journal of Aesthetics 53 (1):100-110.
    A review of John Gibson´s The Philosophy of Poetry.
    Direct download  
     
    Export citation  
     
    My bibliography  
  11.  7
    The Ethics of the Face in Art: On the Margins of Levinas’s Theory of Ethical Signification in Art.Akos Krassoy - 2016 - Estetika: The Central European Journal of Aesthetics 53 (1):42-73.
    In ‘Reality and Its Shadow’, Levinas dismisses knowledge as a whole from art. This has deep implications for the ethical. The aesthetic event has nothing to do with the ethical event – art does not seem to hold a place for ethical knowledge. This situation is problematic with respect to the conflicting phenomenological evidence as well as with respect to Levinas himself, who occasionally relies on works of art in his ethical phenomenological analyses. My article aims to fill in the (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
  12.  15
    Pictorial Aesthetics and Two Kinds of Inflected Seeing-In.Giulia Martina - 2016 - Estetika: The Central European Journal of Aesthetics 53 (1):74-92.
    Inflected seeing-in is a special experience of the vehicle and subject of a picture, which are experienced as related to each other. Bence Nanay recently defended the idea that inflected picture perception is central to the aesthetic appreciation of pictures. Here I critically discuss his characterization of inflection, and advance a new one, that better accounts for the structure and content of inflected experience in terms of properties of the pictures themselves and also clarifies the distinctive contribution of inflection to (...)
    Direct download (2 more)  
     
    Export citation  
     
    My bibliography  
 Previous issues
  
Next issues