Wyniki wyszukiwania - Biblioteka Nauki

Nowa wersja platformy, zawierająca wyłącznie zasoby pełnotekstowe, jest już dostępna.
Przejdź na https://bibliotekanauki.pl

Ograniczanie wyników

3 Gielata I.

Znaleziono wyników: 3

Liczba wyników na stronie

Wyniki wyszukiwania

Sortuj według:

Ogranicz wyniki do:

„Więźniowie natury” – rzecz o kształtowaniu się ludzkiego spojrzenia (przykład Maurycego Maeterlincka)

100%

Gielata I.

2016

tom 9

Relying on Maurice Maeterlinck’s essays, the article reflects on the question of human perception of insects, especially termites. Spatially enclosed termitemounds impose specific way of life which, in Maeterlinck’s view, resembles human way. Following Gernat Böhme’s argument, this realization can only be attained if one accepts emotions in perception. By writing about “places of imprisonment” of living creatures, Maeterlinck was the first to depict human living space as natural imprisonment. At the same time, in his entomological monographs he initiated human experiencing of nature; the process which Böhme described as situating man in his surroundings.

„Tak być musi?” – wariacje na temat interpretacji na przykładzie "Wielkiego" Elizy Orzeszkowej

100%

Gielata I.

tom Świat i Słowo 2015, nr 1 (24)

43-54

The article presents an analysis of Eliza Orzeszkowa’s short story Wielki (The Great One) from the collection Melancholicy and poses a question about the borderline separating interpretation from over-interpretation. The process of reading allows the interpreter to identify musical motifs, in particular Beethoven’s string quartet Opus 135 Muss es sein? / Es muss sein! (Does it have to be so? / It has to be so!) which expresses the sad truth that the novella’s suffering character Juliusz, a violin virtuoso, discovers. In the last part of the article its author questions such an interpretative move and recalls statements which discuss the limits of literary commentaries.

Lekcje patrzenia (Prus o malarstwie i fotografii)

100%

Gielata I.

tom Świat i Słowo 2011, nr 1 (16)

185-196

The article presents Bolesław Prus’s view on painting and photography. In his weekly chronicles Prus often practiced some kind of “looking exercise”, aiming at the essence of painting. Prus’s adventure with paintings is, as the author claims, an adventure of a modern man, caught in the “vortex of modernity”, a vortex of constant changes, which make people encounter new things. In Prus’s case the new thing is photography, which he initially affirms, or even treats as superior to paintings and print, and later criticizes, but still accepting its value. This act of rejection is in fact a defence of artistic independence. The author, referring to Marshall Berman’s views, does not treat Prus’s gesture as anything unusual. Such an act characterises a 19th century artist, whose negations are always mixed with affirmations and eventually never deny the value of what is negated.