Wyniki wyszukiwania - Biblioteka Nauki

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Myśli, zmysły i emocje. Próba dyskursu o syntezie sztuk i jej percepcji

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Solewski R.

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nr 17-18

61-79

EN

After defining the term synthesis and possible use of this word in the theory of art, the author concentrates on various visions of the „Community of Arts”. Description of the philosophical conception of the primeval syncretistic culture, destroyed by – among the others – partition of art into selected domains introduces the ideas to reconstruct universal art especially in the theatre (e.g. Richard Wagner, theatre reformers at the beginning of the 20th century, happening). Afterwards the author demonstrates the basic artistic elements uniting arts and proper to investigate the synthesis of arts phenomenon. Concentration on an artist, turns the attention not only to multitalented creators but also to a problem of the different or similar ways of expression in various domains (e.g. poetry and painting), as well as to the issue of a „creative impulse”. The artwork constructed in a chosen place and specific time, in one style and with one iconographic program, is the most visible base of the synthesis (e.g. in architecture and applied arts, understood as the cooperation of artists or in the contemporary, transgressive and multimedia installation). The situation indicates also the elementary aesthetic problems of the most common determinant of artistic character of the work and the role of the reception and interpretation by the recipient. This element of an artistic process reminds about the role of the aesthetic experience as the final „common place” of every artistic activity (e. g. represented in the romantic considerations on synaesthesia, in the issue titled „ut pictura poesis” or in the „fusion of horizons” conception). Finally, the author stresses the role of recipient’s intellectual activity and cognition as the necessary element and the proper space of the synthesis of arts. The text ends with the reflection about the advantages of the investigations of the synthesis problems for the general questions concerning the art.

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Metaphysical cognition in hermeneutic interpretation: remarks on Grzegorz Sztabiński’s The Writing of Nature – Transcendence III

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Solewski R.

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2016

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nr 4(43)

123-142

EN

The article contains a hermeneutic interpretation of the art of Grzegorz Sztabiński, a contemporary Polish artist creating drawings, paintings and installations. It starts with definitions of transcendence, hermeneutic interpretation, metaphysical cognition, and artistic installation. The main section is comprised of descriptions and interpretations of the artist’s works, created throughout his career, including his own comments and those of his critics, especially in relation to the cycle Pismo natury – Transcendencja [The Writing of Nature: Transcendence]. The text explains how the artist finds the signs of writing to be traces of transcendence concealed in nature and how the relationship between the artwork and the place is used to build the new contexts of each exposure (serving always to discover the transcendence). Finally, the game of models of distinguishing the object of metaphysical cognition is described and in conclusion the metaphysical cognition discovered in the hermeneutic interpretation of an artwork is found as a way of being in the world proposed by art.

3

Polska jako wartość i marginesy transcendencji w sztuce współczesnej. Rozważania na kanwie myśli Władysława Stróżewskiego i obserwacji Grzegorza Sztabińskiego

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Solewski R.

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nr 1-4

289-307

EN

The text introduces selected elements of Władysław Stróżewski's philosophy regarding the nation and art, emphasizing in this context the role of quality and the importance of values, as well as the metaphysicality of art and metaphysicality in art. The introduction of the concept of transcendentals later leads to the suggestion that art can show how these basic values become Polish. The aesthetic theory is extended by Grzegorz Sztabiński's observations on contemporary art. A discussion follows of the concepts of "margins of transcendence", its equivalents, observations of its possible experience, the active experience of artists and the sacralization of art, as well as the "skin of transcendence". These proposals, treated as ways of finding the metaphysicality of art and the metaphysicality in art, are applied to artistic examples. The works of Artur Żmijewski, Jerzy Bereś, Piotr Uklański, Jakub Woynarowski, Jakub Skoczek, and Jerzy Kalina are analyzed and interpreted. The conclusion includes a reflection on the expansion of the "margins of transcendence" appropriate to contemporary Polish art and the place of metaphysicality in it.

4

Proza dwudziestolecia międzywojennego z dzisiejszej perspektywy. Dyskusja otwarcia – zapis z 21.01.2016

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Ogonowska A. , Kisielowa J. , Kisiel M. , Ligęza W. , Solewski R. , Faron B. , Gryszkiewicz B.

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nr 8(2) "Cyfrowa humanistyka"

182-205

XX

Proza dwudziestolecia międzywojennego z perspektywy współczesnych metodologii. Spotkanie i dyskujsa profesorów: Joanny Kisielowej, Mariana Kisiela, Wojciecha Ligęzy, Rafała Solewskiego, Bolesława Farona, pana doktora Bogusława Gryszkiewicza. W roli protokolantki występuje pani doktor Magdalena Stoch.