Wyniki wyszukiwania - Biblioteka Nauki

Ten serwis zostanie wyłączony 2025-02-11.

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

Ograniczanie wyników

3 Ihringová K.

Znaleziono wyników: 3

Liczba wyników na stronie

Wyniki wyszukiwania

Sortuj według:

Ogranicz wyniki do:

FORMULA EXTATICKÉHO PÁTOSU VO VYOBRAZENIACH LUDOVIKY V TVORBE VERONIKY RÓNAIOVEJ

100%

Ihringová K.

nr 1

54 - 66

The study contributes to interpreting the depiction of Blessed Ludovica Albertoni, which has become an identifying feature of Veronika Rónaiová’s work. The depiction of Ludovica has its formal and semantic antecedents in the work of the Baroque sculptor G. L. Bernini. Since 1988, she has appeared regularly in Rónaiová’s paintings, drawings on paper, on the wall, and her body. This study looks at these depictions from the perspective of the concept of Nachleben and Pathosformeln developed by Aby Warburg and followed up by Georges Didi-Huberman with his theory of anachronism. The concept of Nachleben draws attention to those forms that survive and return in art as if in the eternal return, and in this way, survive, like Rónaiová’s Ludovika. The formula of ecstatic pathos, which is emphasized in the text, draws attention to the emotive gestures or emotional experiences that leave an artistic trace in subsequent artistic epochs. Rónaiová’s depictions of Ludovica are interpreted in terms of the formula of ecstatic pathos generated by Baroque sculpture and emerging in contemporary artistic discourse.

PROBLEM OF AESTHETICS EXPERIENCE IN CONTEMPORARY ART

100%

Ihringová K.

ESPES

2018

tom 7

nr 2

33 – 42

Experiencing aesthetics and aesthetic experience has, for a long time, been perceived as the purpose and goal of art. The aesthetic features of a work of art have been the only criteria used in its evaluation. However, these modernist aspects cannot be applied to the conceptual and neo-avant-garde art of the 2nd half of the 20th century that has not only brought a radical change in the artistic form, but, especially, the ontological nature of the work itself. Modernist theories of art and normative rules which apply to perceptual art are no longer able to reflect the changes brought by the art of mind. The traditional history of aesthetics oriented towards the definition of art should, therefore, overlap with, for example, the history of ideas. In the text, I will thus focus on the crucial moments which stood on the border between the old, modernist traditions, and the new, which has brought radical changes into the study of aesthetics as well as the theory of art. The text is focused on three issues: ontological issues of art, the criticism of aestheticism and tautology as a possible problem in interpretation, which will be dealt with from the comparative viewpoint of the art of sense and art of mind.

VIZUÁLNE UMENIE A OBRAT K NEUROVEDÁM

100%

Ihringová K.

ESPES

2015

tom 4

nr 2

4 – 9

The basic problem of the contemporary art theory is a new focus on an image. This emphasis of visuality brings amongst other radical paradigms interdisciplinary impact to the contemporary culture, too. Not only humanity, but also natural scientific disciplines are able to find common fields of his scientific interest. The result is a profiling of new scientific discipline – neuroaesthetics. Its leaders came up with a bold statement that located the beauty centre.