Studie zkoumá Whiteheadovo pojetí rozumu jako regulativního faktoru v každém estetickém prožitku, spolu s Whiteheadovým názorem na základní estetickou povahu každého prožitku, každé zkušenosti. Tyto myšlenky jsou srovnávány se současnými nálezy neuroestetiky a recepční estetiky s cílem doložit stimulující povahu Whiteheadovy fi losofie i pro současnou estetiku.

Abstract:This article presents a new interpretation of Wang Guowei's concept of jingjie understood as his creative response to Kant and European aesthetics addressing concerns recently elaborated also in Gernot Böhme's new aesthetic theory, based on a non-standard interpretation of Kant's aesthetic theory through his concept of atmosphere. The convergence of both authors is explored in their efforts to overcome the dualism of subject and object in their explorations of the aesthetic experience and response, further exemplified by means of another current (...) term, Bence Nanay's distributed attention. (shrink)

This article presents a general conception of aesthetic experience built on an analysis of the relationship between the narrative and the ambient dimensions of the aesthetic value of a natural environment, the forest. First of all, the two dimensions are presented with respect to the possibilities and problems raised by distinguishing between them. Next, the possibilities of their relationship are analysed and it is argued that they are strongly complementary. This complementarity becomes the core of the proposed conception of aesthetic (...) experience, which can explain the difference between the aesthetic and the non-aesthetic, and can also provide an answer to the question of the non-reductive differentiation between the aesthetic experience of nature and the experience of a work of art. The conclusion of the article is mainly concerned to eliminate one of the problems localized in presenting the ambient dimension (the ambience paradox), by means of Ricoeur’s conception of the relationship between time and narrative. (shrink)

The study analyses a narrative monologue, an inner monologue, and a monologue which includes a dialogue between the author and the reader/spectator, from the point of view of the recipient’s participation in the narrative. It employs Muka?ovský’s analysis of to what extent a monologue is present in every dialogue as well as latent and sometimes manifest dialogue features present in every monologue, along with the side-participation of hearer/spectator. The notion of side-participation is expanded on the triangular model of attention with (...) continual presence of ego-consciousness. Thus every monologue has a side-participant who consequently holds a conversation with himself, especially in the case of an aesthetic attitude. Each member of a communicative situation embodies three roles: those of a speaker, a hearer and a side-participant. (shrink)

A critical comment on Weed‘s Looking for Beauty in the Brain from Estetika 1/2008.

The article considers the possibilities of the function and constitution of aesthetic value in the contemporary, ambivalent notion of landscape. It begins with a preliminary analysis of three key concepts central to current discussions – namely, nature, landscape, and environment. It presents one of the dominant models of contemporary ideas about the aesthetics of landscape – the natural environmental model –, and in particular its ambition to accommodate both the true character of today’s relationship between man and his habitat and (...) our aesthetic experience and understanding of it. Mainly, the essay points out the theoretical difficulties implied in this. In conclusion, the article suggests the hidden ethical dimension of our possible relationship to our environment. (shrink)

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.

Professor Zdeněk Mathauser, Czech aesthetician and literary scholar, expert on Husserl’s phenomenology and French and Czech Structuralism, author of many publications, including Básnivé nápovědi Husserlovy fenomenologie.

A review of Steven Shaviro´s Without Criteria: Kant, Whitehead, Deleuze, and Aesthetics (Cambridge, MA: MIT Press, 2009, xvi + 174 pp. ISBN 978-0-262-19576-8).

The paper offers a new model of genre. The model employs Deleuze and Guattari's concepts of plane of immanence, chaos, and, in particular, concepts and approaches of cognitive science. Genre in general and the film genre in particular are modelled as a multidimensional space with a network of vector sequences, as a plane of immanence with individual works in the role of concepts, as a cluster category without a centre. That genre model provides more explanatory power than the recent semantic-syntactical (...) one. (shrink)

Some recent approaches to narratology have presented the event as a basic constitutive element of narrativity. The event is considered either a primitive term or something that just happens or may happen, a change from one state to another. The underlying concepts are identity, state, and being. The article describes the event in general and the narrative event in particular from the perspective of the primacy of becoming, change, and flow, employing especially Whitehead’s philosophy of process and also certain concepts (...) developed by reception aesthetics. The narrative event is analyzed in the context of the following concatenation: the event -- interconnected events -- plot -- fictional world -- the real world and its potentiality. The aim is to understand a narrative event not as an interruption of the receptive flow, but as its change of course among levels of emergence. (shrink)

A review of the first Czech translation, published in 2007, of Nelson Goodman’s Languages of Art.

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.

This article attempts to critically reconsider some of the central motives in Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.

The article attempts to critically reconsider some of the central motives of Tomáš Kulka’s aesthetics, especially his use of the term Gestalt and his concept of versions and alterations. In addition to his own objections, the author focuses on criticism of the above-mentioned parts of Kulka’s theory from the perspective of Czech structuralism and phenomenology.