Temat: aesthetic - Prolib Integro

Skocz do pozycji: 1.

Tytuł:: The Validity of Aesthetic Judgments: George Santayana’s Polemics with Tradition
Autorzy:: Grzeliński, Adam
Bednarek, Stefan
Rabiej, Stanisław
Tematy:: aesthetic judgement
aesthetic experience
Santayana
Kant; Pokaż więcej
Wydawca:: Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Powiązania:: https://bibliotekanauki.pl/chapters/1013023.pdf Link otwiera się w nowym oknie
Opis:: The paper discusses issues of the validity of aesthetic judgements in the concept of George Santayana, the author of The Sense of Beauty and Reason in Art. Although Santayana places aesthetic experience as well as experience as such at the center of his analyses, and explicitly opposes the view that aesthetic judgements are supra-individual, I endeavor to demonstrate that his concept is not necessarily contrary to the achievements of 18th-century aesthetics proclaiming the validity of judgements of taste (Shaftesbury, D. Hume, E. Burke or I. Kant). It is true that Santayana’s multifaceted understanding of beauty reveals the limitations of Kant’s aesthetics, but nevertheless, it does not contradict its achievements. The differentiation he made between the beauty of matter, form, and expression suggests a dual meaning of the validity of aesthetic judgements, on the one hand pointing to their universality while on the other referring to the ideals of reason whose sensual representation is available in works of art.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Art and emotion: the variety of aesthetic emotions and their internal dynamics
Autorzy:: Przybysz, Piotr
Tematy:: aesthetic emotions
aesthetic experience
art
music
neuroaesthetics; Pokaż więcej
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Powiązania:: https://bibliotekanauki.pl/articles/1797350.pdf Link otwiera się w nowym oknie
Opis:: The aim of this paper is to propose an interpretation of aesthetic emotions in which they are treated as various affective reactions to a work of art. I present arguments that there are three different types of such aesthetic emotional responses to art, i.e., embodied emotions, epistemic emotions and contextual-associative emotions. I then argue that aesthetic emotions understood in this way are dynamic wholes that need to be explained by capturing and describing their internal temporal dynamics as well as by analyzing the relationships with the other components of aesthetic experience.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Aesthetics and the Arts of Engagement
Estetyka i sztuka zaangażowania
Autorzy:: Berleant, Arnold
Tematy:: estetyczne zaangażowanie
pole estetyczne
percepcja estetyczna
innowacja
aesthetic engagement
aesthetic field
aesthetic perception
innovation; Pokaż więcej
Wydawca:: Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Powiązania:: https://bibliotekanauki.pl/articles/1727741.pdf Link otwiera się w nowym oknie
Opis:: We wcześniejszym opracowaniu zasugerowałem, że badanie estetyki, zamiast wychodzić od podstawowych zasad, przyniosłoby większe korzyści przez zaznajomienie ze współczesnymi osiągnięciami w sztuce. W ciągu ostatnich dwóch stuleci przemiany społeczne, technologiczne i kulturowe wywarły wielki wpływ na sztukę i doznania estetyczne. Owe fundamentalne zmiany wymagały nowego opisu, który by je objaśniał i racjonalizował. Zaproponowałem zintegrowanie doświadczenia estetycznego z polem percepcyjnym, które łączy w sobie funkcje twórcze, aprecjacyjne, obiektywne i performatywne w tym, co nazwałem zaangażowaniem estetycznym. W ciągu ostatniego półwiecza trendy w sztuce i ich doświadczeniu coraz wyraźniej odchodziły od dyskretnych przedmiotów i bezinteresownej kontemplacji, realizując przejście do estetyki aktywnego zaangażowania artysty, apreciatora, przedmiotu i performera w doświadczalnej dziedzinie estetycznej.
In an earlier study I suggested that the study of aesthetics, rather than being derived from first principles, would benefit, in particular, from knowledge of contemporary developments in the arts. Over the last two centuries, social, technological, and cultural changes have had a transformative effect on the arts and on aesthetic experience. Such fundamental changes called for a new account that would explain them and rationalize their occurrence. I proposed integrating aesthetic experience into a perceptual field that combined the creative, appreciative, objective (i.e. focused), and performative functions in what I called aesthetic engagement. Over the past half century, trends in the arts and their experience have moved more emphatically away from discrete objects and disinterested contemplation, fulfilling the transition to an aesthetic of active engagement of artist, appreciator, object and performer in an experiential aesthetic field
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: „Do świętych pomieszczeń sztuki weszło ciało”1, czyli Berleanta estetyka uczestnictwa i ucieleśnienia
“The body has entered the sacred precincts of art”: Berleant’s aesthetics of participation and embodiment
Autorzy:: Dziewanowska-Pachowska, Marta
Tematy:: Berleant
participation
aesthetic field
embodiment
Post-Kantian Aesthetics
aesthetic experience; Pokaż więcej
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Powiązania:: https://bibliotekanauki.pl/articles/522002.pdf Link otwiera się w nowym oknie
Opis:: Arnold Berleant rejects the traditional aesthetics of Kantian detached contemplation and selfl essness. Instead of separation of art from everyday life, he introduces the concept of aesthetic fi eld. It assumes a coexistence of several factors: appreciative, focused, creative, and performative. Berleant resign from frag„ mentation of the world of art into spectator, artist, and artwork, and proposes to merge it all together in the aesthetic experience based on active participation and personal involvement. This article presents some selected issues of Berleant’s aesthetics. His theses are confronted with Richard Shusterman’s somaesthetics (pragmatism) and phenomenological attitude of Maurice Merleau-Ponty. Berleant’s ideas are illustrated with some examples of contemporary art. I try to explain the issue of participation in a work of art, the role of the body in aesthetic experience and the crucial concept of aesthetic embodiment. I also seek to explore some of the relationships between art and games.
Dostawca treści:: Biblioteka Nauki

Artykuł

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Skocz do pozycji: 5.

Tytuł:: Między trwałością a zmiennością. Moda w perspektywie estetycznej
Autorzy:: Głutkowska-Polniak, Alicja
Wydawca:: Wydział Filologiczny, Uniwersytet Śląski w Katowicach
Cytata wydawnicza:: A. Głutkowska-Polniak, Między trwałością a zmiennością. Moda w perspektywie estetycznej, „Anthropos?” 2018, nr 27.
Opis:: Culture carries both stable and variable components, tradition and progress. A modern man is also situated between persistence and variability as his life is a process of transformation. Such a situation is not easy for him. Fashion as an aesthetic phenomenon, cultural practice and a way of participating in this culture gives the modern man at least the pretence of abolishing the conflict. The conflict which is not only between persistence and variability but also the feeling of community and individuality or tradition and progress. It creates the ground to reconciliation. Fashion performs different functions but nowadays one of the most significant seems to be the aesthetic one which is connecting people but not enslaving them.
Dostawca treści:: Repozytorium Centrum Otwartej Nauki

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Skocz do pozycji: 6.

Tytuł:: Principles and Pedagogical Conditions of Aesthetic Development of High School Students in the Conditions of a Children’s Art School
Autorzy:: Oliynyk, Tetyana
Umrykhina, Oksana
Tematy:: principles of aesthetic development
pedagogical conditions of aesthetic development
aesthetic development
children’s music school students
musical training; Pokaż więcej
Wydawca:: Wydawnictwo Adam Marszałek
Powiązania:: https://bibliotekanauki.pl/articles/28831465.pdf Link otwiera się w nowym oknie
Opis:: The effectiveness of the aesthetic development of high school students in the conditions of a children’s music school directly depends on the application of a certain range of pedagogical principles in the educational process. It was found that pedagogical principles are important guidelines that reflect the general patterns of the process of education and upbringing, determine the requirements for their content, organization and educational methods. They represent a generalized system of requirements that covers all aspects of this process and reflects its results. The article examines the leading principles that are the basis of the process of aesthetic development of high school students in the conditions of a children’s music school: the principle of problematic reflects the consequences of logical and cognitive contradictions as the basis of an educational problem and the driving force of learning, determines the interaction between learning and teaching, the creation of problem situations, the setting and solving the problems; the principle of trust in the subject of education is based on the principles of «humane pedagogy», which ensures the organization of the educational process on the basis of a personal approach to the student, with the approval of him as an active, conscious, equal participant in the educational process, in which he develops on a humane basis personality; when organizing the principle of independent action, it is taken into account that the independent activity of students consists not only in the ability to organize their own mental activity (in which they receive new knowledge), but also in the ability to organize their own behavior, which is connected with the effective organization of their own mental activity; the principle of creativity involves the creation of optimal conditions for realizing the personal potential of schoolchildren; the principle of holistic perception of a musical work helps students understand the essence of each work, find the basic principles of its construction in the musical fabric, and perceive the content of the musical text as a highly organized whole; the principle of dialogue takes into account the following types of dialogic interactions: «author – performer», «teacher (performer) – student (performer)», «listener – performer». It was found that the pedagogical conditions for the aesthetic development of high school students in the conditions of a children’s music school are the subject-developmental environment, which we consider as a dialectical unity of spatial-subject and social components, closely related and mutually conditioned among themselves, where each subject of the educational process carries out its activity, which contributes to cultural identification, the development of aesthetic consciousness and aesthetic sensitivity, and the development of aesthetic activity. The introduction of person-oriented technology into the educational and educational process of a children’s music school is a process of psychological and pedagogical assistance to the child in the formation of his subjectivity, cultural identification, aesthetic consciousness, development of aesthetic sensitivity, development of aesthetic activity.
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 7.

Tytuł:: The category of artistic thinking and the conception of Roman Ingarden’s aesthetic situation
Autorzy:: Chorzępa, Paweł
Czakon, Dominika
Opis:: The aim of this paper is to examine the validity and utility of the category of artistic thinking through applying it to the description of an aesthetic situation as given by Roman Ingarden. The authors are referring to the common understanding of the concept as well as Ingarden’s works, such as : Wykład XI and Przeżycie estetyczne. In this paper they discuss the components of an aesthetic situation, at the same time attempting to characterise the category of artistic thinking.
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

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Skocz do pozycji: 8.

Tytuł:: 20th century aesthetics in Poland : masters and their followers
Autorzy:: Wilkoszewska, Krystyna
Wydawca:: Wydawnictwo Naukowe Semper
Opis:: The20th century classics of Polish aesthetics representing various approaches - from phenomenology to Marxism and analytical philosophy - discussed in their works the most important issues of aesthetics of those days: the problem of work of art and aesthetics object, aesthetic experience as well as aesthetic and artistic values. The book offers outlines of theories worked out by Tatarkiewicz, Ingarden, Ossowski, Blaustein, Pawłowski, Morawski, Witkiewicz, Sobeski, Wallis, Struve, Chwistek, Strzemiński Lissa, Szuman, Białostocki.
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

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Skocz do pozycji: 9.

Tytuł:: The theory of the aesthetic situation of Maria Gołaszewska (1926-2015) and feminist interventions in philosophy
Autorzy:: Michna, Natalia
Opis:: 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).
Dostawca treści:: Repozytorium Uniwersytetu Jagiellońskiego

Artykuł

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Skocz do pozycji: 10.

Tytuł:: Art pedagogy, or perhaps aesthetic pedagogy instead?
Pedagogika sztuki, a może jednak pedagogika estetyczna?
Autorzy:: Lisiecka, Alicja
Tematy:: art pedagogy
education through art
aesthetic education
aesthetic pedagogy; Pokaż więcej
Wydawca:: Wydawnictwo Naukowe Chrześcijańskiej Akademii Teologicznej w Warszawie
Powiązania:: https://bibliotekanauki.pl/articles/59839257.pdf Link otwiera się w nowym oknie
Opis:: The paper contributes to the discussion on the process of making the pedagogic and aesthetic discourse an academic discipline. The concept of art pedagogy developed by Dariusz Kubinowski serves as the reference point for the analysis. In the text, the author highlights the possibility of adopting a broader approach – going beyond the field of art – to the research focus of the emerging sub-discipline which is perceived as the next stage in the scientific reflection on the issue of aesthetic education. The arguments supporting this possibility will be drawn from traditional approach to aesthetic education and the achievements of contemporary aesthetics and empirical aesthetics, which are crucial for the ongoing discussion. At the same time, the author proposes to use the term “aesthetic pedagogy.” Adoption of a broader research focus, on the one hand, creates an opportunity to consolidate within the sub-discipline the existing research findings of educators exploring the aesthetic dimensions of reality in relation to upbringing/education, while on the other, it opens up new areas for inquiry.
Artykuł jest głosem w dyskusji na temat procesu dyscyplinaryzacji dyskursu pedagogiczno-estetycznego. Punktem odniesienia dla przeprowadzonej analizy jest koncepcja pedagogiki sztuki autorstwa Dariusza Kubinowskiego. W niniejszym tekście autorka wskazuje na możliwość szerszego – wykraczającego poza obszar sztuki – ujęcia przedmiotu zainteresowania wyłaniającej się subdyscypliny, postrzeganej jako kolejny etap naukowej refleksji nad problemem wychowania estetycznego. Argumenty wspierające powyższą możliwość zostaną wywiedzione zarówno z tradycji wychowania estetycznego, jak i osiągnięć współczesnej estetyki oraz estetyki empirycznej jako kluczowych dla prowadzonych rozważań. Jednocześnie autorka proponuje stosowanie nazwy „pedagogika estetyczna”. Przyjęcie szerszego przedmiotu badań stwarza, z jednej strony, szansę skumulowania w ramach subdyscypliny dotychczasowych ustaleń badawczych pedagogów zgłębiających estetyczne wymiary rzeczywistości w relacji do wychowania/edukacji, z drugiej – otwiera na nowe obszary dociekań.
Dostawca treści:: Biblioteka Nauki

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