This paper discusses the politics of remembering and the representation of the Holocaust in Polish contemporary art referring to the Lego Concentration Camp by Zbigniew Libera. The paper presents the ways in which Libera’s work challenges the traditional ways of representing the Holocaust and how it engages with issues such as the relation between atrocity and aesthetics. The associations brought to this mode of representation by the notions of game and toys and whether theatricality and play are in dialogue (...) with or violate the historical experience of the Holocaust is also discussed. The paper investigates the specificity of the Polish context in the way the Holocaust is approached and the reactions these artistic attempts raise in the public. Do the unconventional and shocking representations help understand the Holocaust or do they create the opposite effect of misguided and trivialised reading of history? (shrink)

ACKNOWL K DGMENTS The editors wish to thank the following publishers for permission to use the following copyrighted material : British Journal of ...

INTRODUCTION This work follows the recent publication of the landmark study edited by Leon Dyczewski of the Catholic University of Lublin entitled, ...

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and (...) German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)

The book is comprised of three components. The first component analyses the creative contribution to the theory of imperatives and norms provided by 20th-century Polish researchers. The second component summarizes their reflections and considerations. The third component is an anthology of the classic writings of Polish authors of the time; it constitutes an illustration of the first part and indicates that their research covered practically the whole scope of this theory. Author Jacek Jadacki (born 1946) is professor at (...) Warsaw University. His scholarly production includes approximately hundred works spanning almost every domain in philosophy: from logic, through ontology, epistemology, aesthetics and ethics, to the history of these disciplines. Among his more than twenty books are Possible Ontologies (with Zdzislaw Augustynek; 1993), From the Viewpoint of the Lvov-Warsaw School (2003), and Polish Analytical Philosophy (2009). His pupils include such well-known figures of modern Polish thought as Anna Brozek, Mariusz Grygianiec, Joanna Odrowaz-Sypniewska, and Mieszko Talasiewicz. (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)

Maria Gołaszewska (1926–2015) was a Polish philosopher associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the post-war and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and which in this sense should be acknowledged as having anticipated the main postulates of contemporary feminist philosophy. In the article I present Gołaszewska’s philosophy as a cognitively valuable response to the search of feminist aesthetics for a suitable description of women’s experiences related to art and aesthetic perception. In accordance with this aim, I discuss Gołaszewska’s theory of the aesthetic situation, a framework within which she proposed solutions similar to feminist standpoint theories. These theories were developed chiefly on the basis of the feminist philosophy and feminist epistemology (Elizabeth Anderson, Donna Haraway, Sandra Harding, Elizabeth Potter). In recent years they have also found creative applications in feminist aesthetics (Anne Eaton). (shrink)

The generalizing methods of philosophies achieve a popularity for a period of time, which may be extended or brief, during which their proponents and even their opponents may regard them as the cognitive presuppositions for the epoch. The same effect is achieved by the more exact scientific methodologies as they find fame outside the scientific circle and are treated by some as omnipotent discoveries with powers to heal all other disciplines which may be ailing. The limping disciplines, generally classified among (...) the humanities and discerned to be in trouble since the nineteenth century, are understandably envious of the seemingly invincible, favored scientific children of our time. For our era tends to worship quantifiable data and the principles and instruments for measuring and conceptualizing it. Thus semiotics and information theory, in hopes of acquiring the status of the sciences, have led aesthetic inquiry toward the currently popular scientism; but the limited cognitive scope of this methodology has not been recognized. Sociology of knowledge, however, forewarns us of the winds of fashion on cognitive paradigms. Where the inherent explanatory scope of a doctrine, system, or method is less than is believed according to the prevailing sociological patterns, a correction will eventually set in. And an important factor in overcoming the para-religious claims will be, precisely, the fundamental antinomical tendency of the human mind. Stefan Morawski, Research Professor at the Institute of Arts of the Polish Academy of Sciences, has lectured throughout the United States and is currently teaching at the Ludwig Maximilian University in Munich. His works have appeared in a variety of languages: Marxism and Aesthetics: History of Ideas has been published in Spanish and Italian; Absolute and Form, in Polish, Italian, and French; and, in English, Inquiries into the Fundamentals of Aesthetics. (shrink)

Maria Gołaszewska (1926–2015), a Polish philosopher, was associated throughout her life with Poland’s oldest academic institution, the Jagiellonian University in Cracow. She was a student of the phenomenologist Roman Ingarden, himself a student of Edmund Husserl. During the postwar and communist years in Poland, Gołaszewska conducted research focusing on issues related to art and aesthetics. She created her own conception of empirically and anthropologically oriented aesthetics, which I believe is a prime example of a theory that accounts for the (...) perspective of gender, and in this sense should be acknowledged as an important contribution to contemporary gender-sensitive/feminist philosophy. In the article, I present Gołaszewska’s life, academic career, and philosophy as a cognitively valuable response to feminist philosophy’s search for a suitable description of women’s experiences related to art and aesthetic perception. (shrink)

In this article, we examine the presence of selected themes of John Dewey's _Art as Experience_ mainly in Polish humanistic thought. Our focus is on frameworks in which art-related experience is not only a distinct field of aesthetic research but is also a factor in understanding of art as a process modeled upon all other experiences. We outline philosophical, aesthetic, and educational contexts inspired by Dewey's multifaceted aesthetics, particularly in connection with contemporary considerations on democracy, the humanities, and creative (...) practices. We give special attention to Dewey's explorations of literature, which substantiate the importance of the imagination as a preparation for ethical action. (shrink)

As the aesthetic of the Polish cities became a topic of wider discussions, it is important to detect the potential role of human-place relations. Two studies were conducted to explore the relationship between place attachment, place identity and appraisal of urban landscape. Satisfaction with urban aesthetic was predicted by two dimensions of place attachment, local identity and national-conservative identity. Place discovered and European identity were also predictors of visual pollution sensitivity. Place discovered is considered as more active type of (...) attachment that permits both a positive bias concerning the aesthetics of one’s city, and a stronger criticism of the elements that can potentially violate the place’s landscape. (shrink)

The notion of the third culture forms the background of the study that seeks to unify humanistic and scientific approaches for a better appreciation of nature, culture, and the arts. This study draws on the kind of emotion and attitude that we may intuit and act out soon after noticing another individual demanding our help in nature and culture. Such feelings as sympathy and empathy, uncertainty and ambiguity, are perceived to be extremely useful in the context of strategy formation and (...) action taking. These preverbal traits that are already more or less encoded in our body and mind may enable us to devise rewarding strategies emerging from the deep inside when we are coping with strange oddities in nature and culture. Such operation is seen on the one hand to save our biologically valuable time in terms of thinking and imagining, and on the other, to achieve brilliant interpretations of various art and life forms. This study reveals that we are estimated to come up with: cogent and digestible propositions; sharpened perceptions and refined tastes; widened horizons of emulating and appreciating types of art and artifice. On top of polishing our own skills and swiftness of inventing strategies, we may also expect to forge encouraging and endearing partnerships between diverse life forms and us. All in all, this study develops the semio-aesthetic idea that we serve the community by way of developing balanced and intriguing viewpoints that may inspire individuals to regain linkages with beings and forms appearing unpleasant or unconvincing at first sight. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:110 HISTORY OF PHILOSOPHY History of Aesthetics, Vol. I. Ancient Aesthetics. By Wladyslaw Tatarkiewicz. Ed. J. Harrell. Trans. Adam and Ann Czerniawski. (The Hague-Paris: Mouton and Warszawa: PWN-Polish Scientific Publishers, 1970. Pp. vii-352.) History of Aesthetics, Vol. II. Medieval Aesthetics. By WladySlaw Tatarkiewicz. Ed. C. Barrett. Trans. R. M. Montgomery. (The Hague-Paris: Mouton and Warszawa: PWN-Polish Scientific Publishers, 1970. Pp. vii-315.) These two volumes of Tatarkiewicz' monumental (...) history of aesthetics, the third volume (to 1700) of which is now being prepared for press, have been reviewed already in the major aesthetic journals in Europe and America following their publication in Polish. Since Polish is not one of my languages, I can say nothing about the adequacy of the (rather obscured) translators and their work. The editors of both volumes have done their difficult work thoroughly, though the usual inconsistencies of spelling and such creep in. British spellings of judgement, centre, and colour, for example, appear in one part of a volume, while center, color, and judgment appear in another part. These are rare and not at all irksome details. On p. 220 of volume I, Aristotle has become a Stagiryte (sic). If the editors and translators actually re-checked all of those Greek, Polish and English texts--to say nothing of the Latin--they have earned a very large debt indeed. Again, my selective ignorance eliminates me from assessment. Tatarkiewicz' historical writing is surgical and Lacon-like. His major achievement lies in refraining from philosophical animadversions and for sticking strictly to his topic, no matter how tempting the theoretic distractions. Actually one expects a history of aesthetics to find the locus of aesthetic theory in the usual systematic frameworks of outstanding philosophers, but again Tatarkiewicz knows better than to try to provide these settings. His device is to stay exactly with the texts of authors, and to provide as much evidence for his statements as a printed work will allow. His scholarship is truly prodigious, and the work will live as reference for a long time to come. But it is more than a reference. There are some remarkable novelties included that bear mention. First of all, Tatarkiewicz' opening analysis of what must be included in a history of aesthetics is penetrating and convincing. In addition to the major "dualities" of aesthetics (beauty-art, subjective-objective aesthetics, psychological-sociological aesthetics, descriptive-prescriptive aesthetics, etc.) he simply accepts the necessity to find evidence of aesthetic history among statements by artists, among the inexplicit and inarticulate art works, in the vox populi and cultural actions of people. Thus the "evidence" he adduces will often displease the theoretical purist. Next, one is impressed by the great antiquity of some key issues that are being avidly pursued today. What is impressive is not that they are being repeated now, but that modern writers so rarely recognize (or acknowledge) their historical sources---or seem to care to. A careful study of this history might do much to reduce the growing volume in aesthetics----or at least to change the direction of emphasis significantly. One is surprised to note which figures emerge as of first rate importance in the history of aesthetics, important for different reasons. These figures stand out: Democritus, Plotinus, Aristotle, Vitruvius, the Pseudo-Dionysius, Johannes Scotus Erigena, to select only a few. The first Polish philosopher, Vitelo, anticipates much modern psychologizing in advancing the work of Alhazen. Ockham, not so surprising, contributes major advances, as do Augustine and Aquinas. BOOK REVIEWS 111 One fascinating item is the author's extensive account of the most violent and extended controversy in the history of aesthetics---the veneration of images and the disputes between the Iconoclasts and the Iconophiles. This sometimes physical battle raged for over 100 years! The Byzantine society, obviously, took art seriously. Tatarkiewicz' great labor is an object lesson in historiography and bibliographic technique. At one and the same time it demonstrates how much of value remains to be discovered by careful adherence to the detail of scholarship, while it also displays how much fruitful scholarship depends upon a brilliant and profoundly informed mind. Such a work, in short, could only have descended from a fully mature... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Idealization of Contingency in Traditional Japanese AestheticsRobert Wicks (bio)In many popular writings that date from the initial decades of the twentieth century, and also in recent scholarly studies, "Japanese aesthetics"—insofar as we can speak sweepingly of a complicated, multidimensional, and dynamic historical phenomenon—is characterized with a set of adjectives whose present linguistic entrenchment is clearly evident. Specifically we read that traditional Japanese aesthetics is an aesthetics of imperfection, (...) insufficiency, incompleteness, asymmetry, and irregularity, not to mention perishability, suggestiveness, and simplicity.1 Given this collection of qualities, we are presented with a matching set of paradigmatic Japanese aesthetic experiences and objects, both as illustrations and as legitimations of this close-to-standard portrait. Examples include the suggestive moon covered by drifting clouds, the irregularly formed ceramics of ceremonial teacups, the simple and asymmetrical arrangement of unpolished rocks in the dry landscape garden, the bold and dashing monochromatic strokes typical of Zen calligraphy, transient cherry blossoms, serene and cloud-capped mountain summits, lonely thatched huts, sunsets in the foggy twilight, the call of a crane that breaks through the silence, and the light autumn rain that drizzles upon a secluded pond.Upon further reflection, it becomes noticeable that some familiar Japanese aesthetic objects do not easily conform to this standard picture, and this raises doubts about the typical characterization of Japanese aesthetics. The quintessentially Japanese shōji screens and tatami mats, for instance, are uniformly rectangular rather than irregular in form. They are, moreover, neither asymmetrical, nor imperfect, nor incomplete, nor insufficient. How then, can these perfectly regular screens and mats—items crucial to the aesthetics of Japanese domestic architecture—fit neatly into the usually encountered portrait of traditional Japanese aesthetics, if it is said to be fundamentally "the worship of imperfection"?2 Or similarly if "imperfection" is [End Page 88] the keynote of this aesthetics, how does one explain the meticulously raked surfaces of the dry landscape garden or the impeccably perfected movements requisite for performing the Japanese tea ceremony?3Since such examples do not obviously fit into an "aesthetics of imperfection and insufficiency," some reconsideration of the prevailing characterization of Japanese aesthetics is needed to accommodate these, along with other examples of "perfected" items and arrangements. In short, the main difficulty is that the concept of "perfection" has been underthematized.4 To develop a revaluation of the presently submerged status of "perfection" in most scholarly discussions of Japanese aesthetics, I will highlight the familiar principle of aesthetic complementarity but contextualize the experiential foundations of this principle in a specifically Japanese-philosophic manner, namely, in reference to a fundamental feature of time-consciousness, as described by Dōgen (1200-53). This historical grounding will align the principle of complementarity with some of the acknowledged Zen Buddhist sources of traditional Japanese aesthetics.5 The upshot will be that the above-cited collection of adjectives typically used to describe the prevailing atmosphere of Japanese aesthetics—imperfection, asymmetry, incompleteness, suggestibility, etc.—presents only half of the aesthetic and philosophic story and, moreover, tends to pass over what can be appreciated as a more consequential underlying concept, namely, the idea of "contingency."In what follows, basic reflections on the phenomenology of time-consciousness will lead to the claim that, in many paradigmatic instances of traditional Japanese aesthetics, we have before us a situation that is aptly describable as "the idealization of contingency." This involves the assertion of a philosophic proposition through an aesthetic presentation (i.e., the proposition is expressed using metaphor, symbolism, or analogy). In the case of traditional Japanese aesthetics, the main proposition is the Buddhist-associated one that the foundation of things is contingent, conditional, and nonabsolute (i.e., there are no absolute foundations). The aesthetic presentation of this proposition will, as we shall see, make ample room for "perfection" in understanding Japanese aesthetics: By means of juxtaposing contingent, perishable individuals (which usually have an "imperfect" appearance) against a perfected, polished, and idealized background, the contingency of the individuals is thereby aesthetically highlighted and made more readily appreciable.The resulting criticism of the standard characterization is thus a simple one: The typical group of concepts used to describe traditional Japanese aesthetics has neglected to give due... (shrink)

This article presents a new approach to studying aesthetics by weaving together a thread of ideas based on investigating the problematics of the philosophy of art from a behavioral paradigm in order to exceed the margins of aesthetics. I claim that it makes no sense to ask if something is art, but rather we should be looking out into the manners in which art subsists, consists, and insists itself. Several notions of what I call behavioral aesthetics are proposed such as (...) observation, aesthetic experience and aesthetic conditioning, behavioral materialism, out-comes, behavioral memory and replication or acquisition, interaction and intra-action, emotional engineering, artificial instincts, aesthetic dissonance, and the problem of measurement. The proposed goal of behavioral aesthetics consists in studying the process of individuation as constitutive of art with the methods of Bernard Stiegler’s general organology and genealogy of the sensible. The article presents a behavioral stance as a borderline mode for approaching the genealogy of aesthetics. I mostly refer to Tania Bruguera’s Behavior Art School and Wright Judson’s Behavioral Art, and the paradigm of new materialism, notably agential realism of Karan Barad. (shrink)

Polish version, see Kuipers (2002) "O dwóch rodzajach idealizcji I konkretyzacki. Przypadek aproksymacji prawdy".

The text, starting from the classic picture taken from Polish literature on the barbaric destruction of higher culture, first shows the contemporary manifestations of an attack on one of the basic...

Several scholars (Bartoloni 2019, Bukdahl 2017, Vogt 2019) focused on Mario Perniola's perspective on art, post-human sexuality and political theory. Yet little has been written on the philosophical and literary sources - specifically Stoicism, the Baroque and the Avant-Gardes - which influenced his standpoint. The objective of this paper is to develop Perniola's conception of a strategically oriented beauty, which implies a connection between the aesthetic element and the political-effectual one.

In this two-part article, I propose a new materialist understanding of behavior. The term “mattering” in the title refers to sense-making behavior that matters, that is, to significant habits and materialized behaviors. By significant habits I mean protocols, practices and routines that generate ways of reading material signs and fixed accounts of movement. I advance a notion of behaving that stresses its materiality and sensory shaping, and I provide select examples from music. I note that current definitions of behavior do (...) not capture its material dimension. This is because behavioral science has mostly viewed matter as passive, and not as an active agency. Such an approach has metaphysically framed behavior as a phenomenon of presence that is external from its environment. The approach of behavioral science to matter where there are fixed borders between the internal and external is lacking, since it does not account for agential cuts as conceptualized by Karen Barad. Instead, I consider behavior performatively; as an ongoing iterative practice and as integral to the growth of immanently self-caused matter that spawns metastable relational formations that produce different possibilities for successive formations. In this regard, behavior matters, and matter behaves. One key aspect of my article advances Bernard Stiegler as a critical new materialist thinker. This advancement concerns the technical doings of artworks, which include the material activity that is generative of sensitivity: feelings and beliefs associated with a sense or meaning. I outline an example of the materiality of habits as constitutive of music. After that, I coin the transformative doings of matter on the artist as a “caripulation,” which is a desired movement or motion that transforms the mover and the moved. Finally, I raise “pharmacological” considerations in terms of the Stieglerian aspects of organic and inorganic organized matter. (shrink)

In Polish philosophical aesthetics Karol Tarnowski’s considerations about art reflect transformations that occurred in phenomenology – particularly French – in the second half of the 20th century. Religious thinking combined with the scholastic tradition and the classical doctrine of transcendentals turn out to be similar in many aspects, but still not identical with Jean-Luc Marion’s phenomenology of donation and Michel Henry’s nonintentional phenomenology of invisible life. The aesthetic views of Karol Tarnowski, an outstanding philosopher of religion and pianist himself, (...) can be found in scattered texts whose main subject matter is not always art. This is why the article aims at a synthetic presentation of this particular reflection in the context of current debates around phenomenology. (shrink)

Polish philosophy of science has been the beneficiary of three powerful creative streams of scientific and philosophical thought. First and fore­ most was the Lwow-Warsaw school of Polish analytical philosophy founded by Twardowski and continued in their several ways by Les­ niewski, Lukasiewicz, and Tarski, the great mathematical and logical philosophers, by Kotarbinski, probably the most distinguished teacher, public figure, and culturally influential philosopher of the inter-war and post-war period, and by Ajdukiewicz, the linguistic philosopher who was intellectually (...) sympathetic with the anti-irrationalist (as he would say), logistic and meta-theoretical inquiries of the Vienna Circle. Second was independent and lively Polish Marxism, with its fine development of social research under Krzywicki, a social anthropologist and younger contemporary of Engels, and then after the war the economist Lange, the philosophers Schaff, Kolakowski, Baczko, and many others. Finally there has been a wide range of philosophical, scientific and humanistic scholar­ ship which lends its various qualities to the understanding of both the logic of science and the historical situation of the sciences: we mention only that great and humane physicist Infeld, the phenomenologist with deep epistemological interest Ingarden, the historian of scientific ideas Zawirski, the historian of philosophy and aesthetics Tatarkiewicz, and the mathematical logicians such as Mostowski and Szaniawski. (shrink)

The Polish philosopher Roman Ingarden is, with Heidegger, Sartre and Merleau-Ponty, one of the foremost representatives of the phenomenological movement founded by Edmund Husserl. The ideas of his most famous work, The Literary Work of Art, have made a powerful impact on contemporary aesthetics and literary theory. The present volume, a collection of essays all of which appear in English here for the first time, derives from the period towards the end of Ingarden's life when he turned from special (...) problems in aesthetics to the general theory of value and to the study of human nature. Six of the essays, including the longest piece, a masterly study of the problem of responsibility, were originally published in Polish as Little Book on Man. The remaining three essays: on the objectivity and relativity of values, on our knowledge of values and on the foundations of ethics, have been specially translated for this volume, which includes an introduction by the editor. The work is above all of interest to philosophers, who will find here an aspect of Ingarden's thought hitherto unknown to English readers. But the clear and forceful style of these pieces, which has been captured admirably by the translator, will also make the work of interest to the layman, to whom it offers an insight into the ways in which phenomenological philosophy may be put to work in solving problems which have a direct bearing upon his own life. Of interest to: Philosophers, anthropologists, aestheticians, students of these disciplines. (shrink)

The Polish phenomenologist Roman Ingarden gained recognition primarily due to his research on aesthetics. However, he considered the ontology to be the main area of his philosophical interests. At the beginning of his scientific career, Ingarden realized that he could not agree with his teacher Edmund Husserl, who considered phenomenology as a transcendental philosophy. From Ingarden’s point of view, the fallacy of this approach lies in the fact that it leads to metaphysical idealism and makes it impossible to grasp (...) the difference between real-life objects and intentional objects, i.e. objects generated by pure consciousness. In his main work Controversy over the Existence of the World, Ingarden tried to identify the difference between the ontological structures of real and intentional objects, expecting in this way to uphold the legitimacy of a realistic point of view and to prove that the real world is not a product of pure consciousness, but exists independently of him. Nevertheless, the result achieved by using the existential and formal ontological analysis of the a priori structures of various objects turned out to be insufficient to refute Husserl’s transcendental idealism. The article focuses on the last lifetime publication of Ingarden—his book On Responsibility. Its Ontic Foundations published in 1970. Since this work is devoted to the study of the phenomenon of responsibility, it may seem that here we are dealing primarily with research on ethics. The article attempts to show that the book can be read as an ontological study that continues the “debate about the existence of the world,” i.e. as an attempt to prove the reality of the world. However, this proof is no longer based on an analysis of the a priori structures of various objects, but on a direct experience of responsibility. (shrink)

The Aesthetic Experience in Roman Ingarden’s thinking. In this article we study the ideas of the Polish philosopher, Roman Ingarden, as an essential key inthe discussion on literary reception. The notion of "aesthetic experience" is revised, especially in The Cognition of the Literary Work of Art. Ingarden begins aesthetic discussion, trying to answer two fundamental questions: How is the literary work structured? and Which procedure will lead to an understanding of the literary art work of art? These questions, besides (...) serving in his defense against psychologism and positivism of his time, also help him develop his two most popular works in Spanish: The Literary Work of Art and The Cognition of the Literary Work of Art, in which the Polish philosopher clarifies the principles that of the Reception Theory. Nevertheless, the importance of the aesthetic experience in the linguistic and phenomenology dimensions of the literary text is only understood when we study both works. Ingarden, as his translator to Spanish, Gerald Nyenhuis recognizes, presupposes in his second book the first one where he performs a constant trip from ontology to phenomenology in the literary work of art. It is precisely in this search where he nails his concept of aesthetic experience that we study today in relation with other concepts, such as the aesthetic attitude, the pre-aesthetic knowledge, the role of the aesthetic values and the aesthetic object. (shrink)

Artists and history : ideas of philosophy of history in the Polish modernism.

The following article is an addendum to Reinhardt Brandt’s article included above, written for the needs of Polish readers. Brandt discusses the famous Longinus’ treatise while including its entire historic context. The substantial threads including the specifics Longinus’ piece as a treatise on the field of aesthetics that were contained in Brandt’s work have been, on the other hand, reminded in this article.

The aim of this article is to present a new Polish translation of Aristotle’s Poetics, namely, those of its central chapters (6–19) that deal with the Stagirite’s explication of the mimesis of tragedy. When interpreting the first five chapters of the treatise, it is important to recognize the mimetic distinctions and forms according to means and objects as well as the question of how poetic creativity takes shape (generally from improvisation through epic to comedy and tragedy). On the basis (...) of these preliminary assumptions, Aristotle proceeds to define tragedy and analyze its components, forms and functions in more detail. Unlike the previous Polish translations of the Poetics, we have attempted here to render Aristotle’s essential technical expressions as faithfully as possible, without distorting them in accord with various concepts of modern aesthetics or literary criticism. We have also sought to preserve the Stagirite’s typical composition and his complex argument. Only in this way can the sense of Aristotle’s leading assumptions and distinctions be properly discerned. For the ease of reading, we also introduce more paragraphs and relevant subject headings into the text. (shrink)

Author: Moskalewicz Marcin Title: AESTHETIZATION OF POLITICS ACCORDING TO HANNAH ARENDT (Estetyzacja polityki w ujęciu Hannah Arendt) Source: Filo-Sofija year: 2005, vol:.5, number: 2005/1, pages: 203-220 Keywords: ARENDT, AESTHETIZATION OF POLITICS, CRITIQUE OF JUDGMENT Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The article reflects on the problem of aesthetization of politics in Hannah Arendt’s work. It starts with the reconstruction of Arendt’s concept of the human condition, with the intention of placing (...) the political within it. Then, by exploring the theatrical metaphor of political life the author attempts to show in what sense can we say that the political and the aesthetical intertwine in Arendt’s thought. The author also discusses the reproach of the aesthetization of politics and its link to fascism, arguing that paying a closer attention to the distinction between creative and performative arts may help to avoid it. In conclusion, Arendt’s reading of Kant’s Critique of Judgment serves as a basis for a more sympathetic interpretation of her aesthetization of politics, in which the gap between the moral and the aesthetical is reduced. (shrink)