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  1. 4 Benedyktowicz Z.
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1
Content available remote Given – rozmowa z Jeremym Millarem
100%
Gliński M.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
371-376
EN
A record of a conversation, with Given, the Jeremy Millar exhibition at the National Maritime Museum in Greenwich, as the point of departure.
2
Zarys antropologii Immanuela Kanta
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Kusak L.
Zeszyty Naukowe / Akademia Ekonomiczna w Krakowie
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2006
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nr nr 722
43-59
XX
W pierwszej części artykułu przedstawiono miejsce antropologii pragmatycznej w systemie filozofii Kanta. W dalszej części pracy przedmiotem badań jest człowiek, istota rozumna i samodoskonaląca się. Tematem ostatniej części artykułu jest osoba jako przedmiot moralności.
EN
In the opinion of the author of Anthropologie in pragmatischer Hinsicht, man differentiates himself from other living beings in his ability to perfect himself. This ability is played out on the basis of inborn qualities and dispositions (technical talents, pragmatic tendencies, moral endowments). The objective of this process is the "perfect rational being," i.e., a being that always and everywhere, without any compulsion, is guided by reason. This is the ideal to which a human in his or her earthly life can approach only to a limited degree. The crucial moment in the process of human development is the emergence of the reflexive consciousness, thanks to which one becomes a person. This special internal value also nas a moral dimension. It is only as a person that a human is subject to moral law. In his anthropology, Kant continues the tradition of the essentialist interpretation of man and comes out on the side of sensibility, consciousness, liberty and communion. This selection means both the avoidance of historical factors that extend beyond the sphere of unconscious reason, which may be treated as evidence of the one-sidedness of his concept. (original abstract)
3
Podmiotowość ludzka jako fundament solidarności w rozważaniach antropologiczno-społecznych Karola Wojtyły
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Mizdrak I.
Zeszyty Naukowe / Akademia Ekonomiczna w Krakowie
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2006
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nr nr 722
75-85
XX
"W niniejszym opracowaniu pragnę rozświetlić i przybliżyć szeroki wachlarz myśli Karola Wojtyły dotyczących pojmowania człowieka jako osoby oraz ukazać pewnego rodzaju przejście od konkretnego, podmiotowego "Ja" (personalizm), do "Ja" relacyjnego, czyli odniesionego do innych "Ja", których osobowe spełnienie dokonuje się poprzez solidarność w kreowaniu wspólnego dobra i poprzez to dobro wzrastaniu ku pełni bycia."
EN
Karol Wojytła's concept, contained in the work The Acting Person, includes both the idea of the human individual as a person fulfilling himself in action and through action, as well as solidarity, which in the social dimension is supposed to contribute to the common good; together with the principles of love, support and dialogue, its creates a community of free individuals. The experience of the act is understood by Wojtyła as a sphere in which a person reveals what is inside and shows the truth about himself. Through action, persons realise their humanity. As a concrete, multi-dimensional and unique social entity, a person co-operates and co-exists with others through so-called participation. Wojtyła uses this term for the category in which an acting individual maintains the personal value of his own act whilst manifesting that which results from a community of acting persons. Solidarity in the social context has meaning and value if people in a given society acknowledge each other as persons. This vision of man in the context of solidarity eliminates the reification and instrumentalisation of the person, respecting his dignity and fundamental rights. According to Wojtyła, solidarity has many layers and should be examined from different points of view. It is not only a social principle but also an ethical reality in which free and responsible persons can act and move in the direction of what is morally good, beautiful and worthy. The more a person fulfils the principle of solidarity, the more he becomes free, just and authentic. (original abstract)
4
Content available remote Imagine perversa i tożsamość narracyjna. Kilka uwag o „obrazach niewłaściwych” z perspektywy kultur dawnych
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Borowicz S.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
320-334
EN
Anus ebria is an image founded on anti-ideas, clichés that break or openly violate the cultural taboo, such as women’s drunkenness, sexual freedom, or emancipation from norms moulded by tradition. In its capacity as a jeering and comic “divulger” of norms and principles it becomes one of the more characteristic signs of the “eschatology of inebriation”. This is the case not so much of an “old drunk” as of an “old rebel”. In its visual and logistic dimension it assumes the form of a lascivious and old drunken woman, whose vulgar behaviour is a distinct reversal of the natural state of being desired by society.
5
Content available remote Porządek identyfikacji. Indeksalność kolekcji / archiwum Józefa Robakowskiego
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Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
297-306
EN
This text deals with the “archival turn“ and discusses one of the most important Polish private collections of avantgarde art formed since the 1950s by the leading conceptual artist Józef Robakowski. The author’s point of departure is the assumption that the purpose of collecting is the creation of a canon of cultural values, and thus that collecting is the outcome of selecting and systematising facts/objects according to a priori established rules; for this reason it only ostensibly possesses all the features of neutrality. Actually, no collection is neutral since it personifies power inscribed into accumulating, collecting, and gathering as well as encyclopaedic order and rules of the language (Alan Sekula). Private art collections are the effect and image of individual passions, predilections, sometimes manias and obsessions, and build closed and stable testimonies of cultural identity. Archives-collections established by artists are a special case since they are part of artistic strategy, are enrooted in art, and perform work associated with creativity. This fact discloses a certain performative quality of the collection/archive linked with the generation of a private iconosphere, a Derridean “domesticated” archive that constitutes the discourse of the artist-collector with, and about art, also within the domain of “pure” art, which is already only one of the possibilities of artistic strategy. The discussed exhibition was the product of the “domesticated” art collection amassed by Robakowski, and in this manner it builds inter-textual space, ambiguous and connected with its re-[de]-contextualisation. The Robakowski private collection/archive is a conceptual game played with cultural paradigms, originating from the conceptual art of the 1960s and its anti-authoritarian stands conceived as the “great refusal”. The manner of its distribution is part of the conceptual order as a form of artistic organisation and production. At this stage essential questions are yielded by the comprehension of conceptualism by artists living in communist Eastern Europe, where the purpose of conceptualism was not “refusal“ but the involvement of art as a critique of the regime in which it was embedded. This is why the “museum-archival” project proposed by Józef Robakowski, and entailing the collection of objets d’art and documents, focused on memory and history, together with faith in the reanimation ability to “revive” the source and “recreate” the inaccessible past.
6
Content available remote Łotewska Łotwa? Sztuka łotewska w Drugiej Rzeczypospolitej
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Kossowska I.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
351-460
EN
The article discusses the critical reception of an exhibition of contemporary Latvian art opened on 28 March 1936 in the showrooms of the Society for the Encouragement of Fine Arts in Warsaw (Zachęta). The Latvian show was part of a sequence of official art exhibitions of national states, which during the interwar decades functioned faultlessly and linked the central and peripheral centres of the Old Continent into a thick network of exchange. Its reception by Polish authors of reviews exemplified a striving characteristic for the cultural discourse of the 1930s, aimed at capturing in the fine arts certain symptoms of national identity. The presented text is based on a confrontation of several viewpoints concerning the exposition: the perception of Warsaw commentators unfamiliar with the details of transformations transpiring at the time on the Latvian art scene, reflections by Latvian theoreticians of art during the 1930s, and narrations by contemporary historians of Latvian art. An analysis of the exhibition scenario (determined by the cultural policy of the then recently politically constituted Baltic country) and the semantic and morphological qualities of the works on show at the Zachęta defines “national art” and “national style”, and verifies the possibilities of translating critical-theatrical rhetoric into purely art values.
7
Content available remote Posągi-instalacje Igora Mitoraja: między antykiem, renesansem i postmodernizmem
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Biasio B. d.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
335-342
EN
Sculptures by Igor Mitoraj comprise a sui generis bridge spanning over more than 25 centuries of European art. The pillars of this bridge are composed of a great triad of figures: Doryphoros by Polyclitus, designed as a demonstration of the artist’s Canon, David by Michelangelo, and Icarus by Mitoraj. In aesthetics the pillars of this edifice are philosophers representing three different epochs of reflection on art: Plato, Plotinus, Ficino and contemporary postmodernists. Three statues and three different conceptions of beauty captured in stone symbolise three epochs in the history of art: antiquity, the Renaissance, and contemporary art from the turn of the twentieth century.
8
Content available remote Mikrohistorie. Mapy bez legendy
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Czaja D.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
236-240
EN
A text accompanying Invisible Maps, a book by the photographer Andrzej Kramarz.
9
Content available remote Dziewięćdziesiąt jeden słów. O 'Zapomnianych słowach' – więcej
88%
Benedyktowicz Z.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
294-296
10
Content available remote Camera obscura
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Swoboda T.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
218-226
EN
This essay endeavours to decipher the closing years of Roland Barthes as a photograph. Contrary to the title of his last book, Barthes wrote and constructed more of an existential camera obscura whose mechanism served the task of mourning, i.e. La Chambre claire, as well as disclosed the fundamental figures devised in his imagination, namely, darkness and enclosure. The biography of Barthes’ last years proves to be a counterpart of an initiation–like transition towards darkness, the digging of one’s grave, and a reversed version of illumination.
11
Content available remote Ateny nad Izarą. Malarstwo monachijskie
88%
Sztachelska J.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
343-350
EN
The book: Ateny nad Izarą. Malarstwo monachijskie recalls the role played by the Munich centre in the history of Polish culture at the turn of the nineteenth century. In doing so, J. Sztachelska stressed, above all, those features of the Royal Academy of Fine Arts, which in view of the absence of Polish counterparts guaranteed numerous Polish artists unhampered and comprehensive development, contact with European art and culture, and even – by way of a special paradox - rendered more profound their interest in specific Polish motifs: history and Nature, thus inclining them towards the pursuit of national art. It would also be difficult to exaggerate the significance of Munich in paving the path for Polish art towards general awareness due to the commercial successes of such artists as Maksymilian and Aleksander Gierymski, Alfred Wierusz-Kowalski, Władysław Czachórski, Józef Brandt and many others. The art market flourishing in Bavaria became for many the onset of intellectual acclaim. The book edited by Eliza Ptaszyńska brings the reader closer to the schooling of Polish artists in Munich, depicts their daily life, contributes to familiarity with the question of female artists, leads to painters’ studios, discusses the market mechanisms of their success and, finally, interprets their artistic accomplishments and progress. In doing so, the author portrays the Munich milieu, producing an image both complete and free of all prejudices.
12
Content available remote Pierścienie Saturna
88%
Hyde G. M. , Sady M.
Konteksty - Polska Sztuka Ludowa
|
2014
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tom 68
|
nr 3-4(306-307)
57-61
EN
Max’s enemy everywhere is the totalising overview. His art is designed to correct or subvert this kind of cognitive aberration which can be so misleading and dangerous. His narratives of East Anglia offer melancholy fragments with a wide historical and cultural range of possibilities. I begin this essay with an example of my own from a masterpiece of German culture in order to frame my account suggestively in relation to Max’s own lifelong struggle with the land that bore him and which he felt impelled to reject, while acknowledging its colossal contribution to human knowledge and experience. Like Walter Benjamin Max values most the kind of quincunx-links that arise intuitively and spontaneously (as in the work of Sir Thomas Browne, the great Norwich writer and thinker) between domains of experience that cannot be connected by a totalising overview. The vivid images that his works embody are similarly at odds with the ever-sharper digitised perceptions that we now experience on a daily basis but which lack any kind of depth of field and so have no experienced life in them. My only quarrel with Max’s way of working is that in his pursuit of his “illuminations” he is inclined to set aside what may already have been thought and said by other writers. The effect of this is a foreshortening that may be a kind of distortion. A historian once said to me that despite his fascination with history Max was not a historian. For me this does not constitute a weakness, but I think it is a fact.
13
Content available remote Literatura niezdefiniowana. Życie w niepewności. Rozmowa o Sebaldzie w Norwich
88%
Scott C. , Hyde G. M. , Sady M.
Konteksty - Polska Sztuka Ludowa
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2014
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tom 68
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nr 3-4(306-307)
73-75
14
Content available remote Zapomniane słowa: Krachla i sztolwerek – serwus, serwus..., Kristi-Kotka Szamaliner!
88%
Benedyktowicz Z.
Konteksty - Polska Sztuka Ludowa
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2014
|
tom 68
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nr 3-4(306-307)
281-290
15
Content available remote Karska & Went & Duszeńko. O dwoistej naturze monumentu i jego wystawiania
88%
Leśniakowska M.
Konteksty - Polska Sztuka Ludowa
|
2014
|
tom 68
|
nr 3-4(306-307)
307-312
EN
With the concepts of mise-en-scène, event (Mieke Bal), archival turn, and preposterousness as its points of departure the text embarks upon an extensive interpretation of the newest project by Alicja Karska and Aleksandra Went, who working together often undertake the problem of recovering for culture that which is forgotten, omitted, and excluded. The author took into consideration the fact that the performative dimension of the art studio is included into the museological order together with its ritual of forgetting and recalling: the studio is a repository of objects awaiting their disclosure and introduction into social space, ergo, to be given a new life. The Karska & Went project: Franciszek Duszeńko – Monuments is about an unknown sequence in the oeuvre of Franciszek Duszeńko (1925-2008). The authors of the exhibition extracted from his studio-refuge a dozen small abstract sculpture forms and by treating them as a sui generis archaeological finding transferred them into a specially constructed architectural space, i.e. models imitating museum or gallery interiors of the white cube type. In this way, they staged a mise-en-scène: a model of a museum/exposition situation in which a fragment of the artist’s studio conceived as non-space, i.e. that which is found on the peripheries of the existing orders, has been subjected to institutionalisation and engaged in a construction of a fictional museum/gallery. The essence of the applied artistic strategy is preposterousness: (neo)avantgarde sculptures, traces, documents, and relics pertaining to a certain moment in the artist’s oeuvre are seen from a present-day perspective and subsequently cited. In this fashion they become a contemporary product, causal for making another work of art. Applied/cited in present-day artistic praxis they attempt to solve the way in which, and reason why works of art from the past are always perceived as re-vision mediated by the horizon of contemporaneity. The quotation strategy employed in this assemblage is associated with interpretation and thus with conceptualisation. In other words, it is preposterous. This is also the objective of the Karska & Went project: the creation of a trans-historical artistic (cultural) situation that rejects the radicalism of divisions and severances in the history of art. The diverse strategies applied by Karska & Went: anachronism, preposterousness, mise-en-scène, mise-en-abyme, montage, collage, and quotation served the establishment of a new relation between the history of art and its present-day experiencing.
16
Content available remote Skandale na przełomie wieków
88%
Kossowski Ł.
Konteksty - Polska Sztuka Ludowa
|
2014
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tom 68
|
nr 3-4(306-307)
313-319
EN
The objective of this text is to demonstrate fundamental differences in comprehending a scandal at the end of the nineteenth century (E. Munch, Madonna) and the scandal strategy in contemporary art (M. Cattelan, La Nona Ora / The Ninth Hour). In the first case an unintended scandal was the outcome of a philosophical stance adopted by artists questioning Cartesian tradition as well as of the use of Expressionist means, considered shocking at the time. In the second instance, the deliberate creation of the scandal strategy assumed the relegation from the discourse about the artwork of all aesthetic and formal deliberations as well as stirring a barren publicistic dispute, which only creates the appearances of a philosophical clash. A context indispensable for the success of such a devised provocation is the ritual chaos prevailing in the media and a milieu of art critics dominated by “political correctness”.
17
Content available remote Przekaz fotograficzny
88%
Barthes R. , Michera W.
Konteksty - Polska Sztuka Ludowa
|
2014
|
tom 68
|
nr 3-4(306-307)
212-217
EN
A translation of a classical text: Le message photographique, originally published in “Communications” in 1961.
18
Content available remote Kultura organizacyjna - ślepa uliczka teorii organizacji
75%
Krzyworzeka P.
Management and Business Administration. Central Europe
|
2012
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tom 20
|
nr nr 1
72-81
XX
Kultura organizacyjna, traktowana jako pojęcie analityczne, wywołuje istotne problemy natury etycznej, metodologicznej i pragmatycznej. Sformułowany został zatem postulat traktowania kultury organizacyjnej jako pojęcia uwrażliwiającego, a nie ściśle zdefiniowanego. Artykuł wprowadza do debaty na temat teorii organizacji zestaw nowych kategorii, które mają swoje źródło w antropologicznej krytyce postkolonialnej. (abstrakt oryginalny)
EN
Organizational culture as an analytical concept triggers serious methodological, ethical and pragmatic problems. Hence, the postulate of approaching the concept as a sensitizing notion rather than a rigidly denned analytical one was formulated. The paper introduces a set of new categories to the organizational theory debate, which have their origin in anthropological post-colonial criticism. (original abstract)
19
Content available remote Altruizm - zabobon czy użyteczna idea?
75%
Łukaszyński J.
Nauki Społeczne / Uniwersytet Ekonomiczny we Wrocławiu
|
2012
|
nr nr 1 (5) Social Science / Uniwersytet Ekonomiczny we Wrocławiu
162-173
XX
W artykule przedstawiam potencjalne rozwiązanie klasycznego antropologicznego i etycznego problemu. Czy altruizm jest zabobonem, czy też użyteczną ideą? Używając metody analizy źródeł, pokazuję dwa potencjalne rozwiązania tego problemu. Pierwszy rodzaj rozwiązania, w którym autorzy zaprzeczają istnieniu czystego altruizmu i argumentują: altruizm zawsze jest oparty na społecznym obowiązku, winie, współczuciu lub innym egoistycznym pragnieniu. Drugi rodzaj rozwiązania odnosi się do praktycznych implikacji altruizmu. Autorzy popierają altruizm i pokazują wartość altruizmu dla publicznego dobra. Mój końcowy wniosek: altruizm jest użytecznym przesądem (użyteczną ideą). (abstrakt oryginalny)
EN
In this article, I describe the potential solution of the classic anthropological and ethical problem. In this case altruism is a superstition or a useful idea. Using the method of the analysis of sources, I show two potential solutions to this problem. In the first sort of solution authors deny the existence of pure altruism and argue that altruism is always based on social obligation, guilt, sympathy or other egoistic desire. The second sort of solution refers to practical implications of altruism. Authors support altruism and they show value of altruism for the public good. My final conclusion is: altruism is a useful superstition (useful idea). (original abstract)
20
Content available remote Znaczenie recepcji dorobku Bronisława Malinowskiego dla rozważań etyki gospodarczej nad kryzysem finansowo-gospodarczym
75%
Szulczewski G.
Annales : etyka w życiu gospodarczym
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2011
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tom 14
|
nr nr 1
101-113
XX
Po dwóch latach trwania kryzysu pojawiają się stale nowe hipotezy co do jego przyczyn. Etyka finansów również podjęła się tego zadania1. Poszukiwania nie byłyby pełne, gdybyśmy nie sięgnęli do widocznych uwarunkowań kryzysu. (...) Rynek, gdzie bez pełnej i rzetelnej informacji sprzedaje się produkty niebezpieczne, jest rynkiem o słabo funkcjonującej infrastrukturze etycznej, na którym obowiązuje zasada: niech się strzeże kupujący, bo on ponosi ryzyko (caveat emptor). Natomiast dzięki zorganizowaniu się konsumentów doszło do zmiany strategii przedsiębiorców i obecnie na bardziej cywilizowanych rynkach obowiązuje hasło: niech się strzeże sprzedający, bo ewentualne wady produktu obciążają sprzedawcę (caveat venditor). Na etycznym rynku rzetelność kupiecka przejawiająca się w podawaniu prawdziwych informacji o produkcie, a nie stosowanie kłamstwa przez marketing staje się normą. (fragment tekstu)
EN
The paper presents two theories from the area of cultural anthropology. The first is B. Malinowski, who criticized economism and moralism. I present further stages of this criticism, with special importance placed on the concept of homo oeconomicus. Malinowski also showed how moral norms are implemented in primitive cultures by means of magic, cults, customs and rituals and rites. Another important section is devoted to Malinowski's analysis of how cultural institutions were important for stable functioning of primitive communities. They sheltered those communities form crisis of the kind that we experience today. The second theory is economical ethics of K. Hofman, one of the newest achievements of German business ethics. So works of cultural anthropology are worth being read again. (original abstract)
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