ESPES

9

Authors: Haško Štefan

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).

12

Authors: Bandurová Lenka, Šantová Katarína

The paper deals with the possible parallels between Heidegger's aesthetic thinking and aesthetics of the Bauhaus art and design. The authors examine to what extent could philosophy of given period interfere with the development of modern art, while exploring and analyzing different theses of theorists who have expressed on given subject. Heidegger wrote three key texts (Das Ding 1950, Bauen, Wohnen, Denken 1951, Die Frage nach der Technik 1954), which embraced the theory of design. The authors of the paper examine to what extent could Heidegger theses have an impact on contemporary product design.

20

Authors: Makky Lukáš

The most often and discussed issue in the analysis of prehistoric art is the problem of interpretation and the problem of understanding of prehistoric artistic artifacts. There are a lot of approaches, but the most popular from the aesthetic and artistic point of view is the interpretation of meaning of prehistoric art. In the present paper we would like to discuss the productivity of iconological and structuralism approach, especially in the interpretation of Celtic art from the area of Slovakia (Slovenska Nova Ves) with application on the statue of a boar. The main problem is the existence of Celtic myth in the written form, which allows us to understand mythological meaning, but also confuses us because of the apocryphal characteristics of this “tales”.