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324Messages in Art and MusicDialogue and Universalism 20 (3-4): 97-109. 2010.In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in expression this message should be com…Read more
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35Musical Phenomenology: Artistic Traditions and Everyday ExperienceAvant: Trends in Interdisciplinary Studies 9 (2): 141-155. 2018.The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserte…Read more
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24Entering 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 p…Read more
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O 'widzeniu aspektu' w estetyce współczesnejSztuka I Filozofia (Art and Philosophy) 31 14-23. 2007.A Few Notes on Aspect Seein g in Contemporar y Aesthetics In this paper author examines the problem of aspect seeing in reference to works of Ludwig Wittgenstein and Virgil C. Aldrich posing the question of whether they are applicable to experience of musical works. Drawing on examples from Wittgenstein’s Philosophical Investigations, author maintains that hearing a melody as solemn, sad, et cetera is neither universal nor unequivocal. Musical work, author suggests, does not present itself spont…Read more
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772Gest ekspresyjny jako element estetycznej analizy dzieła muzycznegoSztuka I Filozofia (Art and Philosophy) (22-23): 262-280. 2003.This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate part of…Read more
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393Pojęcie idealnej granicy w estetyce dzieła muzycznego Romana IngardenaAspekty Muzyki 1 203-225. 2011.Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then ever. The mus…Read more
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Kategorie prawdy i pozoru w filozofii Theodora AdornaSztuka I Filozofia (Art and Philosophy) 15 254. 1998.paper discusses the concepts of truth and appearance and the function they perform in the philosophy of Theodor Wisengrund Adorno.
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Uwagi na temat czasu i przestrzeni, ich przeżywania i doświadczaniaSztuka I Filozofia (Art and Philosophy) 14 127-141. 1997.
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2131Metafora w doświadczeniu dzieła muzycznego: wokół koncepcji Rogera ScrutonaSztuka I Filozofia (Art and Philosophy) 32 27-40. 2008.Metaphor in Experience of Musical Work. Account of Roger Scruton's Theory Author analyses Roger Scruton's theory of metaphorical transfer outlined in his The Aesthetics of Music. Tone and a special kind of listening constitute the main elements of music in Scruton's music aesthetics. It is through the listening experience, one in which physical sound changes into musical tone, that music comes into being. The change - Scruton argues - takes place when spatial and time metaphors are employed to d…Read more
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9Odłamki rozbitych luster: rozprawy z filozofii, kultury, sztuki i estetyki ofiarowane Pani Profesor Alicji Kuczyńskiej (edited book)Uniwersytet Warszawski, Wydz. Filozofii i Socjologii. 2005.
Małgorzata A. Szyszkowska
University of Economics and Human Sciences
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Polish Society for Aesthetics (CAPHE Project)Other
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University of Economics and Human SciencesOther (Part-time)
Warsaw, Masovian Voivodeship, Poland
Areas of Specialization
Aesthetics |
Continental Philosophy |
European Philosophy |
Philosophy, Misc |
Areas of Interest
Aesthetics |
20th Century Philosophy |
Continental Philosophy |
Philosophy of Music |