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Leopold Blaustein's Aesthetics Aesthetics In zlom2_2011 14.11.2011 8:52 Stránka 199 AESTHETICS IN CENTRAL EUROPE ARCHIVE DOCUMENTS & ARTICLES LEOPOLD BLAUSTEIN’S AESTHETICS ZOFIA ROSIŃSKA The introduction to Leopold Blaustein’s (1905–1944) two essays in this issue of Estetika contains a general biographical note about the author and his philosophical affiliations, as well as a brief description of his particular interests within philosophical aesthetics. Blaustein’s method of philosophical inquiry is described as analytical phenomenology. Three interconnected fields of aesthetics in Blaustein’s works are emphasized: the theory of aesthetic perception, the theory of attitudes (towards the imaginary world and the reproduced one) and the theory of representation, especially the imaginary representation crucial for aesthetic perception. Blaustein’s theory of perception and aesthetic experience is discussed in greater detail in the introduction as well as represented by the essay ‘The Role of Perception in Aesthetic Experience’. His theory of imaginary representation is exemplified by a selection from his important book Przedstawienia imaginatywne (Imaginary representations, 1930). The introduction ends with an account of the idea of ‘experiential unity of a higher order’, which for Blaustein serves as the condition for the possibility of aesthetic experience and constitutes an important background for an understanding of Blaustein’s aesthetics. Leopold Blausteins Ästhetik Die Einführung zu Leopold Blausteins (1905–1944) zwei Essays enthält sowohl einen allgemeinen biographischen Abriss zum Autor und zum Kontext seiner Philosophie als auch eine Skizze seiner Hauptinteressen auf dem Gebiet der philosophischen Ästhetik. Blausteins philosophische Methode wird als analytische Phänomenologie charakterisiert. Darin werden drei miteinander verknüpfte Felder der Ästhetik hervorgehoben: die Theorie der ästhetischen Wahrnehmung, die Theorie der Einstellung (zur imaginierten und zur reproduzierten Welt) und die Theorie der Vorstellung, v.a. Einbildungsvorstellung, die für die ästhetische Wahrnehmung entscheidend ist. In der Einleitung wird Blausteins Theorie der Wahrnehmung und ästhetischen Erfahrung eingehender diskutiert. Sie wird auch im Essay „Die Rolle der Wahrnehmung in der ästhetischen Erfahrung“ präsentiert. Seine Theorie der Einbildungsvorstellung wird anhand einer Auswahl aus seinem bahnbrechenden Buch Przedstawienia imaginatywne (Einbildungsvorstellungen, 1930) vorgestellt. Die Einführung endet mit einer Darstellung der Idee der „Erfahrungseinheit höherer Ordnung“, die Blaustein zufolge die Bedingung der Möglichkeit ästhetischer Erfahrung ist, vor deren Hintergrund seine Ästhetik verständlich wird. Leopold Blaustein had no students or biographers and no tributes were made to him. All that remains is a couple of recollections of friends and teachers, some basic information, and a few critical analyses of his philosophical Estetika: The Central European Journal of Aesthetics, XLVIII/IV, 2011, No. 2, 199–208 199 zlom2_2011 14.11.2011 8:52 Stránka 200 Leopold Blaustein’s Aesthetics work.1 Yet his meticulous analyses of aesthetic objects and experiences with respect to different modes of perception and the different media through which aesthetic objects are presented to a perceiver resulted in original aesthetic ideas and distinctions that are only now beginning to be recognized by aestheticians. Most of the current interest is on his innovative media aesthetics which, despite the state of the technology of the days in which he was writing his seminal works, is still relevant.2 Blaustein’s description of the specificity of media experience is, however, based on his general phenomenological reflections on aesthetic perception and the constitution of imaginary objects. Consequently, the starting point of any account of his theory should be aesthetic perception and aesthetic experience. The story of Leopold Blaustein’s life is full of question marks and qualifiers like ‘maybe’, ‘perhaps’, ‘probably’. He was born in 1905. He was murdered (reportedly with his wife Eugenia and his son) by the Nazis in the Lvov Ghetto (or in a concentration camp nearby) in 1942. According to another version, he committed suicide in Lvov in 1943 or 1944.3 He was a student in the Faculty of Arts at the University of Lvov, probably between 1923 and 1927.4 He attended the seminars of Kazimierz Twardowski, the founder of the Lvov-Warsaw School of Logic, and attended lectures by 1 Of the few critical accounts of Blaustein’s aesthetics, see, for example, Roman Ingarden, ‘Leopold Blaustein: Teoretyk radia i filmu’ [Leopold Blaustein: Radio and film theorist], Zeszyty Prasoznawcze, no. 4 (1963): 86–93, and also Ingarden’s ‘Leopold Blaustein’, Przegląd Filozoficzny 42 (1946): 335–36. His correspondence with Kazimierz Twardowski is an important source for an historical account of the intellectual development of the Lvov-Warsaw school as well as the individual thought of both philosophers. See Ryszard Jadczak, ‘Uczeń i nauczyciel: Z listów Leopolda Blausteina do Kazimierza Twardowskiego z lat 1927–1930’ [Disciple and master: The correspondence between Leopold Blaustein and Kazimierz Twardowski 1927–30], in …A mądrości zło nie przemoże […But vice shall not prevail against wisdom], ed. Jacek J. Jadacki and Barbara Markiewicz (Warsaw: Polskie Towarzystwo Filozoficzne, 1993), 19–27. 2 See especially Leopold Blaustein, ‘Étude sur la perception des pièces radiophoniques’, Kwartalnik Psychologiczny 11 (1939): 5–61, and Przyczynki do psychologji widza kinowego [On the psychology of the cinematic spectator], Poznań: Poznańskie Towarzystwo Psychologiczne, 1933. For more on this, see Zofia Rosińska, Blaustein: Koncepcja odbioru mediów [Blaustein: A conception of media reception] (Warsaw: Prószyński, 2001), which also includes twelve essays by authors applying Blaustein’s theories to contemporary media. See also Blaustein’s remarks on the experience of theatrical and cinematic representations in ‘Imaginary Representations: A Study on the Boarder of Psychology and Aesthetics’, § 25, published in this issue of Estetika. Another field of Blaustein’s work is education, but his essays in this area are generally less valuable these days than his media theory and aesthetics, with the exception of Wpływ wychowawczy filmu [The educational influence of film] (Lvov: Malinowski, 1937). 3 Jacek J. Jadacki, ‘Życiorysy niedokończone’ [Unfinished biographies], in Jadacki and Markiewicz, …A mądrości zło nie przemoże, 161. 4 Jadczak, ‘Uczeń i nauczyciel’, 19. 200 Estetika: The Central European Journal of Aesthetics, XLVIII/IV, 2011, No. 2, 00–00 zlom2_2011 14.11.2011 8:52 Stránka 201 Zofia Rosińska Kazimierz Ajdukiewicz, another prominent figure of that school, and the phenomenologist Roman Ingarden. In 1925 he spent a semester at Freiburg as a student of Edmund Husserl.5 On 4 July 1927, Blaustein received his PhD His thesis, supervised by Twardowski, is entitled ‘Husserl’s Theory of the Act, the Content, and the Object of Representation’.6 Shortly before the viva voce, on 19 May 1927, he had also to pass a two-hour oral exam (rigorosum). His examiners were Twardowski and Juliusz Kleiner, a literary theorist. Blaustein passed with flying colours. He was only 22 or 23 years old when he graduated, which was uncommon at the time and in the circle of Twardowski’s students. He wrote little, perhaps only a few hundred pages in all, since his life was cut short at the age of 38. He considered himself a philosopher or psychologist rather than an aesthetician, but his achievements in philosophical aesthetics deserve more interest than they have so far received.7 His most important works on aesthetics include Przedstawienia imaginatywne (1930),8 Przedstawienia schematyczne i symboliczne (1931),9 ‘O imaginatywnym świecie sztuki’ 5 Blaustein was impressed by Husserl, but cannot be considered his follower. Both men were phenomenologists, but they took different approaches to philosophy. See Leopold Blaustein, ‘Edmund Husserl i jego fenomenologia’ [Edmund Husserl and his phenomenology], Przegląd Humanistyczny 5 (1930): 233–42. In his doctoral thesis, Blaustein engaged in polemics with Husserl, indicating several points of disagreement. These do not, however, directly concern questions of aesthetics. For the relationship between Blaustein’s phenomenology and the Lvov-Warsaw School and Twardowski, see Wioletta Miśkiewicz, ‘Leopold Blaustein’s Analytical Phenomenology’, in The Golden Age of Polish Philosophy: Kazimierz Twardowski’s Philosophical Legacy, ed. Sandra Lapointe, Mathieu Marion, Wioletta Miskiewicz, and Jan Woleński (Dordrecht: Springer, 2009), 181–88. 6 Jadczak, ‘Uczeń i nauczyciel’, 20. The thesis was published a year later by the Lvov Scientific Society as Husserlowska nauka o akcie, treści i przedmiocie przedstawienia [Husserl’s theory of the act, the content, and the object of representation] (Lvov: Towarzystwo Naukowe, 1928). 7 Dziemidok ranks Blaustein’s achievements next to those of Roman Ingarden, Władysław Tatarkiewicz, and Stanisław Ossowski. Bohdan Dziemidok, Teoria przeżyć i wartości estetycznych w polskiej estetyce dwudziestolecia międzywojennego [Theories of aesthetic experience and value in Polish aesthetics of the interwar period] (Warsaw: PWN, 1980). For a general assessment of his aesthetics, see Zofia Rosińska, ‘Leopold Blaustein: Styk psychologii i estetyki’[Leopold Blaustein: The junction of psychology and aesthetics], in Wybór pism estetycznych [Selected essays on aesthetics], by Leopold Blaustein, edited by Zofia Rosińska
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