Wyniki wyszukiwania - Biblioteka Nauki

1

BIBLIOGRAFIA 2004 – 2016

100%

Kucharská V.

ARS

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2017

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tom 50

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nr 1-2

3 – 109

EN

- History of fine art – historiography, theory, methodology, personalities - Antiquity and pre-Romanesque art of the 6th – 10th century - Romanesque art of the 11th – 13th century - Gothic art of the 13th – 15th century - Renaissance art of the 15th – 16th century - Baroque and Rococo art of the 17th – 18th century - 19th century art - Art from the turn of the 19th century - Art of the first half of the 20th century - Art of the second half of the 20th century - Art in the context of historical events

2

Wspólnota świata sztuki

100%

Popczyk M.

Świat i Słowo

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2011

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tom Świat i Słowo 2011, nr 1 (16)

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nr Świat i Słowo 2012 nr 2 (17)

173-184

EN

For ages works of art have helped to constitute the shared experience of the world. In traditional societies it was the religious conviction that unified the community; in the contemporary world the metre for both artists and viewers is established by the institution: the Academia, the authority of the museum. In the times of the avant-garde movements the conventions ruling creativity as well as the forms of reception became diversified, and the resulting plurality of stances and viewpoints can be seen through three perspectives. The first one unites those artists and viewers who claim that a work of art is a political tool. Others form a community based on the principle that art itself is fundamentally political, as defined by Jacques Rancière. Finally, as Hans Belting argues, what bonds the community might be its relation to time, space and death.

3

IF A HOME THEN ALSO A 'PLAY', A 'SYMBOL' AND A 'FESTIVAL' - INSPIRED BY THE RELEVANCE OF THE BEAUTIFUL BY H. G. GADAMER (Jesli dom to i 'gra' i 'symbol' i 'swieto' - z inspiracji Aktualnoscia piekna H.G. Gadamera)

100%

Winnicka-Gburek J.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

221-225

EN

An attempt at paraphrasing the theory of art expounded by Hans Georg Gadamer for the needs of an analysis of the category of the home. While discussing the book The Topicality of Beauty, in which the philosopher summarised his views about art and creativity, the author of the article wishes to show the connections between experiencing a work of art and a home.

4

Bioetyczny i teologicznomoralny wymiar zamrażania ludzkich embrionów

87%

Wróbel J.

Roczniki Teologiczne

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2020

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tom 67

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nr 3

75-103

EN

The article discusses the issues of cryopreservation of human embryos. The use of this technique is related to assisted procreation. The supernumerary embryos created in order to increase the effectiveness of the in vitro procedure are frozen so that they can be used in subsequent transfer attempts. The author presents the technical dimension of freezing and the risks associated with it. In the last part, the author analyzes the ethical dimension of these techniques. He emphasize that although assisted procreation is immoral itself, it is morally right to strive to correct this evil by the mother, who is ready to accept into her womb the thawed embryos. The adoption of abandoned embryos seems to be a good solution. However, this solution cannot be justified from the ethical point of view. If it is forced by law to defrost or terminate the contract by the clinic that stores the embryos, it is possible to consent to their death. The health condition of the embryos, which makes their development impossible, releases from the obligation to transfer. Moreover, it is immoral to select embryos by eugenics and transfer only those embryos that have the desired phenotypic or sex characteristics.

PL

Artykuł jest poświęcony problematyce kriokonserwacji ludzkich embrionów. Stosowanie tej techniki pozostaje w ścisłym związku z prokreacją wspomaganą. Stwarzane celem zwiększenia skuteczności procedury in vitro nadliczbowe embriony zostają zamrożone, aby następnie można było je wykorzystać w kolejnych próbach transferu. Autor przedstawia techniczny wymiar zamrażania i ryzyko z nim związane. W ostatniej części Autor analizuje wymiar etyczny tych technik. Podkreśla, że chociaż sama prokreacja wspomagana jest niemoralna, to jednak moralnie słuszne jest dążenie do naprawienia tego zła przez matkę, która jest gotowa przyjąć do swojego łona stopniowo rozmrażane embriony. Dobrym rozwiązaniem wydaje się być adopcja porzuconych embrionów. Takiego rozwiązania nie da się jednak usprawiedliwić z punktu widzenia etycznego. Jeżeli rozmrożenie zostaje wymuszone przez prawo lub wymówienie umowy przez klinikę przechowywującą te embriony, możliwa jest zgoda na ich obumarcie. Z obowiązku transferu zwalnia również stan zdrowotny embrionów uniemożliwiający ich rozwój. Ponadto niemoralna jest selekcja eugeniczna embrionów oraz transfer wyłącznie tych embrionów, które mają pożądane cechy fenotypowe czy płeć.

5

Analiza rozwoju środowiska uruchomieniowego systemu Android

85%

Honcharenko K. , Smołka J.

Journal of Computer Sciences Institute

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2019

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tom Vol. 12

246--251

PL

W artykule przedstawiono rozwój środowiska uruchomieniowego systemu Android. Zaprezentowano własną aplikację dla systemu Android, w której zaimplementowano testy wydajności wykorzystane do przeprowadzenia badań w różnych wersji środowiska. Test jest metodą, która implementuje różne operacji w systemie Android oraz mierzy czas ich wykonania.

EN

The article presents the development of the Android runtime. Own application for Android is presented, which implements performance benchmarks used to test different versions of the Android runtime. The methods measure the benchmark execution times in different versions of the Android runtime environment.

6

THE HOME - A SOURCE OF IDENTITY (Dom zródlo tozsamosci)

80%

Boruta T.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

195-200

EN

Analysing the symbolic and structure of Robert Campin's Mérode Triptych the author notices that the ostensible non-cohesion of the objects and the interior in the scene of the Annunciation comprises an introduction, intended by the author, of three parallel axes, in which the lines of the perspective meet. Each is ascribed to one of the Three Divine Persons. In this case, they are present as a principle introducing order into the whole depicted world and thus legitimise the religious interpretation of the portrayed objects derived from daily life, as symbols referring to supernatural reality. In this work, due to the broached theme associated with daily narration and the symbolic of the work, the artist rendered conception, nativity, and the perspective of death and resurrection; he also expressed the intimate space of loneliness as well as dialogical, social and professional relations. In this fashion, the home shown by Robert Campin conveys the identity of man who, by setting up a home in a concrete place and at a given time, seeks the reasons for existence in a supernatural order. By gaining a point of support and an anchor, he discovers an order that exceeds the dimension of individual existence. In this way, the home, which is both an idea and the experience of settling down, becomes a source of identity that constitutes the correct perspective of the world in which we live.

7

FROM THE MOTIF OF THE 'HOME' TO THE IDEA OF 'TRANSPARENCY' AS A PATH OF EXISTENCE (Od motywu 'Domu' do Idei 'Przezroczystosci' jako drogi istnienia)

80%

Urszula S.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

169-172

EN

A sui generis commentary on a series of paintings entitled Within the Range of Wooden Architecture, executed by the author. An attempt at resolving the questions: 'Which home is artistically of special significance to me? Can the artist find himself at home amidst his works?'.

8

TOWARDS AN ACTIVE MONUMENT ('VEHICLE FOR THE HOMELESS', 'VETERANS AS THE MONUMENTS OF THEIR TRAUMA') (W strone pomnika aktywnego ('Pojazd dla bezdomnych', 'Weterani jako pomniki wlasnej traumy'))

80%

Wodiczko K.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

153-156

EN

A lecture read by Krzysztof Wodiczko at the opening of a seminar on Conflict. Trauma. Art at the Warsaw School of Social Sciences and Humanities in January 2010.

9

'WHO WANTS TO PAINT THE WORLD IN COLOUR'? PAINTING IN THE WORLD BY CZESLAW MILOSZ

80%

Mrugalski M.

Przegląd Humanistyczny

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2005

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tom 49

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nr 1(388)

27-45

EN

Martin Heidegger is commonly considered related to Czeslaw Milosz. The author draws conclusions from this assumption. Reading 'The World' referring to Heidegger's 'Source of a Piece of Art', he exposes an ironic tension between the poems on faith, hope and love on the one hand and the poems on pieces of art on the other. They both are contradictory. Lyrical reflections deny the philosopher's thought, while 'ekfrases' come close to Heidegger's 'Source..' - a major 20th-century work studying truth-art relations. Yet, what brings Milosz's poetry close to Heidegger's philosophy is the conflict within the poem.

10

Sztuka jako święto w filozofii Hansa-Georga Gadamera

80%

Czakon D.

Kwartalnik Filozoficzny

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2012

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tom 40

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nr 2

149 - 165

EN

The subject of this article is the idea of festival, which is one of the three aspects of the definition of the arts according to Hans-Georg Gadamer. The author of this paper describes Gadamer's aesthetic theory, providing an overview of the central thesis of Gadamer's notion of art as the experience of a festival, contained primarily in the essay, The Relevance of the Beautiful and in his major work, Truth and Method. This article consists of three parts which depict, consecutively, the temporality of the aesthetic, art and festival, and art as the experience of unity.

11

ART AND EVERYDAY LIFE IN THE CITY. FROM MODERN METROPOLIS TO CREATIVE CITY

80%

Ratiu D. E.

ESPES

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2021

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tom 10

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nr 2

183 – 204

EN

This paper addresses the relations between art and everyday life in the city from the vantage points of urban aesthetics and sociology, where the “city” refers as well to a normative world. The aim is to show how art/artistic life contributed to the normative change and new urban lifestyles. First, I focus on Baudelaire’s theory of beauty and life in modern metropolis or the city as “poetic object” and dandyism as an art of the self, seen as a crucial normative change: the emergence of new norms of excellence and art of living, such as creativity and self-fashioning. Second, I discuss a recent yet related normative change, described by Boltanski and Chiapello as a passage to the “project-oriented city”, seen as a new way of working and living that fuses cultures of creativity and uncertainty. Third, I tackle the “creative city” hailed by Florida, where the creative lifestyle of “creative people” is the new mainstream setting the norms for society: individuality, diversity and openness, but also impermanent relationships and loose ties. I will argue that extending the hyper-mobile and flexible creative lifestyle from the extraordinary figure of the artist to ordinary people, as everyday urban life, triggers both benefits and risks.

12

'THE HOUSE OF DEAD ANIMALS' ('Dom martwych zwierzat')

80%

Kitowska-Lysiak M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

267-275

EN

The titular description 'The Home of Dead Animals' denotes a taxidermy laboratory in which dead animals are granted an 'illusion of life'. The article is illustrated by literary and artistic examples of the mentioned motif. Artists made frequent use of dead animals, including stuffed ones, starting with the Dutch still life, especially of the vanitas variety. A taxidermist who conserves and renders immortal resembles a vanitas painter. The iconography of taxidermy, however, is not extensive (see, e. g. Henry Coeylas' /1880-1920/ Reconstruction of the Dodo Bird in the Laboratory of Prof. Qustalet /1903/, a painting of value for the natural sciences). Artists much more frequently resorted to the motif of an abattoir and depicted skinned animals (Rembrandt, Goya, Soutine, Bacon et al.). While admiring their masterful qualities, the critics, as a rule, omitted the eschatic dimension of such works. A slightly different aspect of the problem is disclosed by the assemblages by Robert Rauschenberg: Odalisque and Monogram (1955-1959) and the performances by Beuys: Siberian Symphony (3 February 1963) and How to Explain Pictures to a Dead Hare (1965). Compositions by Rauschenberg are autonomous objets d'art that ignore ultimate issues, in contrast to Beuys, whose oeuvre spans between life and the trauma of the threat and death. Alongside the 'Rauschenberg model' (a dead animal envisaged as a passive element of the world of art) and the 'Beuys model' (a dead animal as a physical 'participant' of the artist's activity) there is Animal Pyramid (1993) by Katarzyna Kozyro, showing the daily proximity of death; by breaking a taboo Kozyro attained that which contemporary art finds particularly difficult - the sphere of the ultimate.

13

LOST IN TRANSLATION. THE ICONOGRAPHIC TRADITION AND VISUAL TRANSFORMATION OF AN ANTIQUE FABLE

80%

Konečný L.

ARS

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2011

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tom 44

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nr 2

215-221

EN

The article concentrates on how the motif of the antique fable “Heracles and the Ox-Driver” transformed in a series of artefacts by Giovanni Castrucci, Lodovico Pozzoserrato and Pirro Ligorio from the 16th and 17th centuries. It demonstrates how at times the courses and interpretations of iconographic themes can be complex and difficult to trace, and how easily one can be swayed to conclude that a case is so simple and straightforward that there is in fact nothing to resolve.

14

Gombrowicz i filozofia. Uwagi do koncepcji sztuki pisarza

80%

Czakon D.

Kwartalnik Filozoficzny

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2015

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tom 43

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nr 1

133-152

EN

This article is an introduction to the ideas about art and philosophy found in the thought of Witold Gombrowicz. The author describes Gombrowicz’s views, referring primarily to his Diaries and to Interviews with Dominique de Roux and Piero Sanavio. The article consists of four parts, which include depictions of Gombrowicz’s attitude to philosophy, his criticism of existentialism, and his reflections on pain.

15

ART AT HOME IN THE NEW SERVICE-COMMERCIAL SPACE (Zadomowienie sie sztuki w nowej przestrzeni uslugowo-handlowej)

80%

Rogozinska A.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

227-232

EN

The presented text demonstrates an unprecedented phenomenon that started to function on an increasing scale since the 1980s: corporations had rendered art a business venture, treating it as one of the most effective marketing instruments. The intentional pursuit of art has become a new form of financial investment, accompanied by a marketing strategy of creating a new image. The appearance of a private corporation sector in a domain that in Europe had been almost exclusively public has become a feature of a novel artistic awareness. Moreover, the widely delineated and effective application of marketing by the corporations has affected the approach towards marketing on the part of the temples of art - the museums. Corporation models of institutional activity and management became increasingly often models of functioning for museums. The article discusses factors that influence the transformation of traditional art museums into cultural malls as well as the increased number of renowned museums (so-called super stars) and their expansion across the world. The author analyses a process in which commercial organisations, on the one hand, develop their own forms and strategies of a cultural policy (e. g. by creating art collections) in order to retain and expand the sphere of influence while, on the other had, art institutions adopt and modify corporation strategies so as guarantee public recognition and financial stabilisation. New forms of cultural promotion and mediation have developed as a result of those concurrent interests. Both the corporations and the art institutions seek legitimisation and acceptance, at the same time emphasising the benefits enjoyed by the public/clients from establishing inter-institutional relations. By gradually taking over impact over the museums, the corporations significantly alter the functioning of those institutions and art itself, and by displaying art in their interiors they re-define the discourse, especially the one dealing with contemporary art.

16

IMRICH ESTERHÁZI A JEHO HISTORIOGRAFIA PRI VÝSKUME DEJÍN UMENIA

80%

Orviská K.

ARS

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2022

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tom 55

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nr 2

169 - 181

EN

Imrich Esterházi is one of the most important patrons of the 18th century yet his patronage in present-day Slovakia, Hungary and Croatia has not been analysed. Detailed iconological research on his commissions is lacking as well. The aim of this study is to summarize and briefly analyse his extensive, but still not comprehensively processed, historiography. The latter constitutes the basis for further research, especially in the field of iconology and patronage, and thus will be able to make future research faster and easier. I will focus on literary and archival sources related to the person of the Primate, most of which are still unknown in our region.

17

Zrození moderního umělce a kritika v Čechách: umění, věda a objevení času

80%

Andel J.

Teorie vědy (Theory of Science)

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2008

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tom 17/30

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nr 2

133-147

EN

In his article, the author traces the changes that took place in both art and science in the Czech Lands in the course of the 19th century. In the works and commentaries of such painters as Karel Purkyne or Sobeslav Pinkas, he finds early signals of the emergence of modern art. Even the scientific findings of Karel Purkyne's father, J. E. Purkyne, a renowned natural scientist of his era, divulge links to modern art-forms, such as cinematography. The exchange between art and science is apparent, for example, in the geological inspiration for Adolf Kosarek's paintings. What is particular about such works and scientific endeavors is their disruption of the static imagery and emphasis on the flow of time. The rise of urbanism and, consequently, of individualism, brought the passing and linear conception of time to the fore. Andel claims that this 'discovery of time' was a crucial element in constituting both the modern artist and critic.

18

MEDICINE AS ART: ART AND BEAUTY

80%

Niebroj L. , Kruzlak M.

Archeus. Studia z bioetyki i antropologii filozoficznej

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2006

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tom 7

39-47

EN

Medicine has been called art since ancient times. However, the term 'art' is still not clear when applied to medicine. The article aims to redefine the conception of art, taking into account its relation to the conception of beauty. In the traditional conception of art, understood as fine arts, beauty is its proper aim. When 'art' is understood as a 'craft' or 'trade', beauty is only one of its properties. In conclusion, there are indicated reasons why it would be better to describe medicine as craft rather than art.

19

WHAT MAKES THINGS BANAL

80%

Makky L.

ESPES

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2020

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tom 9

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nr 2

94 – 104

EN

In this paper, I investigate the origins of banality and the reasons why some phenomena appear banal to us. I discuss the issue by analysing three interrelated areas of aesthetic investigation: artworks, everyday objects, and banal things. By identifying the source of banality, my goal is to understand what makes banal things different from other kinds of things. I consider the following questions: 1) when, why, and how does an object become banal?; 2) what happens when something becomes banal?; 3) are banal things aesthetically appealing? Drawing on Wolfgang Welsch’s notion of anesthetization and Walter Benjamin’s account of aura, I argue that banality consists in the absence of both an ontological and an axiological character in objects, which makes them appear trivial or insignificant to us. I conclude by showing that although art, everydayness, and banality represent different aesthetic dimensions, objects constantly move from one of these dimensions to the other.

20

ESSAY ON THE CONCEPT OF ART AND REALITY

80%

Gyenge Z.

ESPES

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2021

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tom 10

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nr 1

32 – 41

EN

Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer’s terms, by a power of “seeing in things not what nature has actually formed but what she endeavoured to form, yet did not bring about” (Schopenhauer, 1969, pp. 186-187). For Schopenhauer, this capacity can be fully engaged not by the “ordinary man, that manufactured article of nature” (ibid., p. 187), but by the man of genius. In contrast, John Ruskin holds that the power of art consists precisely in allowing us to regain what can be called the innocence of the eye, in other words, a kind of childlike perception which remains blind to the meaning of perceived things. (Ruskin, 2006, p. 42) This paper seeks a possible answer to the question of how art ties us to reality.