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MariaKorusiewicz
forthelastsixdecades.Withinthetimeframeoffour
minutesandthirtythreesecondstheeverydaywithallits
implicationsiscutoutofitscontextandraisedtothemeta-
level,becomingacomplexsemioticentity.
Thedistinctivenessofartwasparalleledbythe
distinctivenessofaestheticsseenasthephilosophyof
art.Itsfamous“crisis”
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repeatedlyproclaimedinthe
twentiethcenturywasjustanothernameforthequestfor
moreefcientdemarcationlinesthatwouldpreservethe
separationofartfromthefactual.Aesthetics,overlooking
theimportanceoftheworldbeyondart,failedtoaccount
forthemajorpartofouraestheticlife.Tewiderangeof
propositions,fromtheformalismofCliveBellandEdward
Bulloughand“art-as-experience”ofJohnDeweytoArthur
Danto’spowerfulideaof“theartworld,”MonroeBeardsley’s
contribution,orthetextspresentedinthebulkyanthologies
editedbyJosephMargolisandWilliamKennick,12despite
thecrucialdińerencesintheconstructionofaesthetic
paradigms,revolvedaroundtheworkofartasamodel
objectofaestheticappreciation.AsBerleantandCarlson
state:
Atoneextremeistheoldideaofdisinterested
contemplationofthesensuousandformal
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Oneofthemostinfluentialpublicationsonthesubjectwas
Kryzysestetyki,ed.MariaGołaszewska(Kraków:PWN/Uniwersytet
Jagielloński,1983).
12Cf.:CliveBell,Art(London:ChattoandWindus,1914);Edward
Bullough,“CPsychicalDistance’asaFactorinArtandasanAesthetic
Principle,”BritishJournalofPsychology5(1912):87-117;JohnDewey,Art
asExperience(1934),vol.10ofTeLaterWorks,1925-1953,ed.JoAnn
Boydston(Carbondale:SouthernIllinoisUniversityPress,1987);Arthur
Danto,“TeArtworld,”JournalofPhilosophy61,no.19(1964):571-584;
GeorgeDickie,Aesthetics,AnIntroduction(NewYork:Pegasus,1971);
MonroeC.Beardsley,Aesthetics:ProblemsinthePhilosophyofCriticism
(NewYork:HarcourtBrace&World,1958);PhilosophyLooksatthe
Arts;ContemporaryReadingsinAesthetics,ed.JosephMargolis(New
York:CharlesScribner’sSons,1962);ArtandPhilosophy;Readingsin
Aesthetics,ed.WilliamKennick(NewYork:St.Martin’sPress,1964).
