Vlastimil Zuska

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.

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. AbstraktEinige neuere Ansätze in der Erzähltheorie haben das Ereignis als ein grundlegendes konstitutives Element von Narrativität eingeführt. “Ereignis” wird entweder als einfacher Begriff aufgefasst oder als etwas, das schlicht passiert oder passieren könnte; ein Wechsel von einem Zustand zu einem anderen. Die zu Grunde liegenden Konzepte sind Identität, Zustand und Sein. Der Beitrag skizziert Ereignis im Allgemeinen und das narrative Ereignis im Besonderen ausgehend von einer Priorität des Werdens, der Veränderung und des Fließens; dabei wird besonders auf Whiteheads Philosophie der Prozessualität und gewisse Konzepte der Rezeptionsästhetik zurückgegriffen. Das narrative Ereignis wird im Rahmen der folgenden miteinander verknüpften Begriffen analysiert: Ereignis – Ereigniskette – Plot – fiktionale Welt – Realwelt und ihre Potenzialität. Das zielt darauf ab, ein narratives Ereignis nicht als eine Unterbrechung des Rezeptionsflusses zu verstehen, sondern als etwas, dass die Richtung dieses Rezeptionsflusses zwischen Emergenzniveaus verändert.

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. AbstraktDieser Artikel stellt ein allgemeines Konzept ästhetischer Erfahrung vor, das sich auf eine Analyse der Beziehung zwischen der narrativen und ambienten Dimension des ästhetischen Werts der natürlichen Umwelt, konkret des Waldes, stützt. Zunächst werden die beiden Dimensionen im Hinblick auf die Möglichkeiten und Probleme vorgestellt, die ihre Unterscheidung mit sich bringt. Dann werden die Möglichkeiten analysiert, die ihr Verhältnis bietet; vordergründig wird ihre starke Komplementarität hervorgehoben. Diese Komplementarität wird zugleich zum Kern der vorgestellten Konzeption ästhetischer Erfahrung, die nicht nur den Unterschied zwischen dem Ästhetischen und dem Nicht-Ästhetischen zu erklären vermag, sondern zugleich auch eine Antwort auf die Frage nach einer nichtreduktiven Unterscheidung zwischen einer ästhetischen Erfahrung der Natur und der Erfahrung mit Kunstwerken bietet. Abschließend versucht die Studie unter Rückgriff auf das Verhältnis von Zeit und Erzählung bei Paul Ricoeur, ein Problem – das Paradox des Ambienten – zu lösen, das sich bei der Vorstellung der ambienten Dimension ergeben hat.

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.

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.

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

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

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.