Wyniki wyszukiwania - Biblioteka Nauki

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O polityczności sztuki Jerzego Beresia na tle politycznym

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Hanusek J.

Sztuka i Dokumentacja

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2017

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nr 16

63-79

EN

The oeuvre of Jerzy Bereś (1930-2012) is considered to be one of the most politically engaged in the Polish art scene of the second half of the twentieth century. Its interpretation is facilitated by the context of post-war events, which led Poland to loose its real independence. A massively distorted image of that time was propagated for nearly half a century and nowadays the aftereffects are still noticeable. After the second Soviet invasion of Poland in 1944, public awareness of a threat to the country’s independence was widespread. The process leading to the annihilation of this knowledge took over a dozen years, tens of thousands of people were killed and hundreds of thousands repressed in various ways. After the tragic experiences of German occupation, Polish citizens desired to return to the life they once had. Nevertheless, the society was terrorized and subjected to total indoctrination. They began to slip more and more into torpor, a lethargy that was a sort of self-preservation as well. People dreamed a dream whispered by the communist regime. Security Services were preventing any disruption of this sleep, using thousands of secret agents and collaborators. Bereś wanted to break that false dream. He engaged himself in disputation with the totalitarian reality through the field of art. Assuming that an important role of art is, among others, to make apparent what is invisible, the artist gave himself the most challenging task out of all possibilities. In the Polish People's Republic, the issue pushed most deeply into the realm of shadow and invisibility was the lack of real independence. Bereś constantly strove to remind the public of it and he bitingly criticized socio-political mechanisms prevailing in Eastern Bloc countries. The aim of his art was to provoke and induce the public to judge the reality around them. The artist elaborated in numerous sculptures and actions a unique method of universalizing local experiences. An emblem of his relationship to the world was the image of a white and red penis, present in his artworks through almost his whole artistic career. His attitude was unique since most Polish artists of that time understood freedom in art as being unconnected with politics. He had the opportunity to witness a process that seemed impossible to happen: the transition from a totalitarian system to democracy. The latter had been an idealized myth for decades, an elusive paradise with social freedom and wealth. After the fall of communism in 1989 this myth collided with the realities of the market economy. Then, the politics of Bereś’s art gained a new and different meaning.

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On a Non-Referential Theory of Meaning for Simple Names Based on Ajdukiewicz’s Theory of Meaning

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Hanusek J.

Logic and Logical Philosophy

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2012

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tom 21

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nr 3

253-269

EN

In 1931-1934 Kazimierz Ajdukiewicz formulated two versions of the theory of meaning (A1 and A2). Tarski showed that A2 allows syn- onymous names to exist with different denotations. Tarski and Ajdukiewicz found that this feature disparages the theory. The force of Tarski’s argument rests on the assumption that none of adequate theories of meaning allow synonymous names to exist with different denotations. In the first part of this paper we present an appropriate fragment of A2 and Tarski’s argument. In the second part we consider an elementary interpreted language in which individual constants occur, but not functional symbols. For such a language we define semantically a relation of synonymity for simple names and show that it fulfills syntactical conditions formulated by Ajdukiewicz in A2 and allows synonymous names to exist with different denotations.

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Ucieczka w metasztukę

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Hanusek J.

Estetyka i Krytyka

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2004

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nr 1(6)

PL

Pogłębiający się ciągle proces intelektualizacji oraz instytucjonalizacji sztuki współczesnej doprowadził w drugiej połowie dwudziestego wieku do powstania jej nowej mutacji, którą można określić mianem metasztuki. Chociaż ugruntowane w artystycznych faktach, rozróżnienie między obszarem sztuki i metasztuki nie jest łatwe, bowiem przedstawiciele tej drugiej starają się zatrzeć demarkacyjną linię podziału. Autor przedstawia własną propozycję takiego rozróżnienia oraz uzasadniające je kryteria.

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Argument Tarskiego i teorie znaczenia Kazimierza Ajdukiewicza

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Hanusek J.

Diametros

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2012

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nr 32

160-189

PL

W latach 1931-1934 Kazimierz Ajdukiewicz sformułował dwie wersje teorii znaczenia. Tarski wykazał, że druga wersja teorii dopuszcza moż- liwość istnienia równoznacznych nazw o różnej denotacji. Cecha ta zo- stała uznana przez Tarskiego i Ajdukiewicza za dyskwalifikującą teorię. W artykule dokonuję porównania obu wersji teorii, przede wszystkim ze względu na podstawową definicję wzajemnej wymienialności wyrażeń. Pokazuję, że wbrew rozpowszechnionej opinii zarzut Tarskiego dotyczy także pierwszej wersji teorii. Siła argumentu Tarskiego opiera się na założeniu, że żadna adekwatna teoria znaczenia nie może dopuszczać istnienia równoznacznych nazw o różnej denotacji. Podejmuję dyskusję z tym stanowiskiem.

EN

In the years 1931-1934 Kazimierz Ajdukiewicz formulated two versions of the theory of meaning. Tarski showed that the second version of the theory allows for the existence of synonymous names with different denotations. Tarski and Ajdukiewicz believed that this feature disqualified the theory. In the article I briefly present the assumptions of the theory and make a detailed comparison of both versions of the theory, primarily because of the basic definition of the interchangeability of expressions. For this purpose I present a formalization of the basic definitions and show that Tarski's objection also applies to the first version of the theory. The strength of Tarski's argument is based on the assumption that no adequate theory of meaning can permit the existence of synonymous names with different denotations. I undertake a discussion with this standpoint.