Wittgensteinovo chápanie pravidiel v kontexte Kantovej teórie umenia

The main topic of the paper is the analysis of Wittgenstein’s (later) understanding of rules, i. e. their nature in terms of a paradigm of “language games” in the context of Kant’s ideas on the rules of art. The submitted paper is a continuation and elaboration of my research and reflections on Kant’s concept of genius, and partially, on Wittgenstein’s thought, presupposing a mystical aspect of the artistic sphere. The first analyzed connection corresponds with the theme of ineffability of rules as well as affinity of the ideas of both philosophers concerning the issue of the process of understanding rules, i.e. grasping them in practice. In the second, less extensive part I analyze the hypothesis for the dynamics of rules which is a natural consequence of a playful activity in the language use (Wittgenstein) or in creation (and reception) of works of art (Kant)

O nevysloviteľnom v umení (Kant – Schopenhauer – Wittgenstein)

The work sets its goal in an attempt to name the possible relationship in Kant’s, Schopenhauer’s and Wittgenstein’s thoughts about art. The notionless character of the ’idea‘ of an art piece, outlined by Kant’s and Schopenhauer’s aesthetic theory, will be studied in the context of Wittgenstein’s points of view on the question of meaning or interpretation of art pieces. On the theme level, the chosen study can be titled as an analysis of thoughts of the alleged thinkers, these then offer reasons of silence when being ’in front of‘ an art piece. In the second part I turn my attention mainly to some of the connections concerning Wittgenstein’s thoughts and personal experience, which explain in a more broad context his silence, i.e. the mystical dimension of his philosophy

Wittgensteinovo chápanie pravidiel v kontexte Kantovej teórie umenia

The main topic of the paper is the analysis of Wittgenstein’s (later) understanding of rules, i. e. their nature in terms of a paradigm of “language games” in the context of Kant’s ideas on the rules of art. The submitted paper is a continuation and elaboration of my research and reflections on Kant’s concept of genius, and partially, on Wittgenstein’s thought, presupposing a mystical aspect of the artistic sphere. The first analyzed connection corresponds with the theme of ineffability of rules as well as affinity of the ideas of both philosophers concerning the issue of the process of understanding rules, i.e. grasping them in practice. In the second, less extensive part I analyze the hypothesis for the dynamics of rules which is a natural consequence of a playful activity in the language use (Wittgenstein) or in creation (and reception) of works of art (Kant)

Úvahy o slobode Kantom koncipovanej geniality

The gravity of freedom, as one of the main features and privileges of Kant’s genius, can be verified by the fact, according to which his artistic creation reveals itself within the so-called Beautiful, Free Art. Despite all that, the work originates from reflections, which present themselves as reasons to reassess the main themes and characteristics in Kant’s esthetic theory. In the paper, I deal with the analysis of a narrowed down understanding of genius; i.e. by interpreting freedom as ‘solely’ the liberation from rules of art creation and at the same time, in respect to Kant's conception of disinterestedness, from all outside-art objectives. In respect of concepts of genius specified by Kant, we can ask ourselves about the issue at hand; is it even possible for a genius to be unsatisfied with the mechanics of his own genius, in other words him being a genius per se

K Schopenhauerovej teórii génia a morálky v kontexte s učením Jaroslava Duška

The aim of the submitted paper is the naming of some (potential) connotations among Schopenhauer’s model of disinterestedness, draught in his aesthetical and ethical theory and predominantly Toltec teaching of Jaroslav Dušek. Schopenhauer’s concept of art or his explanation of purposeless and non-utilitarian production of the genius that corresponds with Dušek’s perception (but even practical realization) of so-called synchronicity that satisfies thematic background of the introductory part. I focus my attention on the common reasoning of the reflections of both thinkers in ethical questions in the second part. I put the context of Toltec compliment and persuasion “You are my other I” (“In Lak’ech”) explained by Dušek into the context with Schopenhauer’s arguments for the elimination of the egoism, thus, with the topic of identity of inner essence of all the living

O nevysloviteľnom v umení (Kant – Schopenhauer – Wittgenstein)

The work sets its goal in an attempt to name the possible relationship in Kant’s, Schopenhauer’s and Wittgenstein’s thoughts about art. The notionless character of the ’idea‘ of an art piece, outlined by Kant’s and Schopenhauer’s aesthetic theory, will be studied in the context of Wittgenstein’s points of view on the question of meaning or interpretation of art pieces. On the theme level, the chosen study can be titled as an analysis of thoughts of the alleged thinkers, these then offer reasons of silence when being ’in front of‘ an art piece. In the second part I turn my attention mainly to some of the connections concerning Wittgenstein’s thoughts and personal experience, which explain in a more broad context his silence, i.e. the mystical dimension of his philosophy