Wyniki wyszukiwania - Biblioteka Nauki

1

THE THEMING OF CITY IMAGINATION (Tematyzacja miejskiej wyobrazni)

100%

Nieszczerzewska M.

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2008

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tom 1

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nr 1(4)

181-196

EN

The article analyzes issue of the imagination as a social practice. The authoress points to different kinds of the themed environments, i.e. shopping-malls, parks and big cities streets, that are related to this imagination. These environments, characterized by collective consumption and entertainment, are corporate public spaces and the sites of social spectacle. The basis of the themed narratives are first and foremost nostalgic references to the past of the cities, mass dreams and media fantasies.

2

IMAGINATION AND THE PLASTIC ARTS: NEW PERSPECTIVES ON AN OLD RELATIONSHIP

100%

Kesner L. , jr.

Umění (Art)

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2005

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tom 53

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nr 3

207-226

EN

:This study is devoted to the deconstruction of the myth of imaginative art and vision, with the aim of including the term 'imagination' functionally in discussions about the genesis and perception of artworks, an inclusion that would show greater respect for the hard-won findings about the functioning of the human mind and brain. The traditional presumption of the existence of 'imaginative' art (vision) and the existence of artists, explicitly distinct from other creative works, from 'normal' vision and from unimaginative artists, has been shown to be inconclusive and, as far as interpretation or art criticism is concerned, unhelpful. We have focused instead on several aspects that can be considered more or less specifiable and verifiable manifestations or types of imagination, of particular importance to the plastic arts and the interests of art critics and historians: 1) the mechanism of projective vision/ 'vision as if'; 2) the generation of mental images on the basis of unconscious neural representations in a changed state of consciousness; and 3) propositional 'offline' simulation of possibilities as part of the creative process. This kind of perspective is in keeping with the findings of contemporary research and indicates that imagination, in this sense, can be regarded as a key cognitive function and one of the basic prerequisites or components of the creative act (not just) in the plastic arts.

3

THE STUDIO AS THE HOME OF THE ARTIST'S IMAGINATION (Pracownia jako dom wyobrazni artysty)

80%

Przybyl M.

Konteksty - Polska Sztuka Ludowa

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2010

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tom 64

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nr 2-3(289-290)

188-190

EN

The author - a painter of the Imaginary Portrait of Francis Bacon. Studio - describes his direct contact with the canvases of Francis Bacon. This meeting not only 'opened his eyes' to purely painterly questions, but also made it possible to establish the symbolic relations between the studio - the artist's workplace and his imagination.

4

Mental rotation of emotional and neutral stimuli

80%

Czarnecka K. , Szymura B.

Polish Psychological Bulletin

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2009

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tom 40

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nr 2

101-111

EN

The main aim of the study was to create and validate emotional version of mental rotation task (MRT). As all previously conducted experiments utilized neutral material only, such an attempt seemed necessary to confirm the generality of mental rotation effect and its properties. Emotional MRT was constructed using photos of negative facial expressions; a compatible neutral MRT was also created, for detailed comparisons. 2- and 3-dimensional figures (Experiment 1) and hexagrams (Experiment 2 and 3) served as affect-free stimuli. In three experiments, emotional MRT version was proven to be valid, whereas only hexagram-based neutral MRT version yielded the expected results. A number of differences between the two versions emerged, concerning response times, accuracy and difficulty of trials. The neutral/emotional MRT procedure, although needing more research, seems to give stable results, making the study of content-bound imagery possible.

5

ZMYSEL A TVORBA: HRANICE PREDSTAVIVOSTI

80%

Popa D.

Filozofia (Philosophy)

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2017

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tom 72

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nr 6

440 – 450

EN

To what extent could the limits of imagination be of help in elucidating our relationship to the sense of our experience? Is it the imagination that produces the sense of our living, or does it have some another function that comes into play with the sense? To what extent the imaginable and the meaningful overlap and what are the consequences of this overlapping? If the sense of experience is produced by imagination, the unimaginable then has to be understood as a sheer experience of the absence of sense, as its momentary crisis or interruption. However, if the relationship between the sense and experience is of another sort, the investigation of the limits of imagination could unveil the nature of sense. We try to find the answers to these questions, which would be informed by the analyses of the aesthetic theories inspired by social philosophy and phenomenology.

6

O TOM, CO VIDÍME V MLZE. FENOMENOLOGICKÁ ESEJ O NEPŘEDSTAVITELNOSTI NELIDSKÉHO

80%

Nitsche M.

Filozofia (Philosophy)

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2014

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tom 69

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nr 7

604 – 612

EN

The main goal of this paper is to analyse the inconceivable of non-human (e.g. animal, angelic, etc.). The essay distinguishes two approaches to this inconceivable, a negative and a positive one. The negative approach (connected here with the “linear” model of perception) denies the inconceivable, and tries to convert it into some kind of representation (e.g. Descartes’s chimeras). The positive approach (connected to the “topological” model of perception) accepts to some extent the inconceivable of non-human, but it overcomes at the same time the conception of representation as such. The question is then, how depiction and imagination should be explained in the framework of the topological model of perception. As an example of a topological perception, the essay analyses the experience of perceiving in the fog.

7

ADAPTATION SCENARIO OF THE IMAGINATION'S EVOLUTION

80%

Lukasik A.

Psychologia-Etologia-Genetyka

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2005

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tom 11

91-117

EN

The author presents hypotheses concerning evolutionary factors responsible for the evolvement of imagination and its adaptive functions. Pleistocene was pointed as the environment for evolutionary adaptability in which it was possible for imagination to evolve as a result of certain phenomena which occurred at that time and which were important for the evolution of man. These included: creation and use of first tools, emergence of the hunting-gathering society, migration of hominid from Africa to other continents and development of social relations with a special emphasis on cooperation. It has been concluded that these phenomena could have constituted the selection factors which determined the evolution of imagination.

8

IMAGINATION AND FITNESS: AN EVOLUTIONARY VIEWPOINT

80%

Lukasik A.

Psychologia-Etologia-Genetyka

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2007

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tom 16

7-32

EN

The three hypotheses have been verified in the experiments presented in this paper: according to the first one, possessing the creative imagination increases human fitness; according to the second one - one condition to fulfill an adaptation function by imagination is possessing imagery which is adjusted to the situation (e.g. the reproductive imagination - the usual situation; the creative imagination - the unusual situation); according to the third hypothesis - which derived from the sexual selection theory - possessing the creative imagination by males has a very important influence for an estimation of the males' fitness made by females and - on the basis of the compatibility rule - for an estimation of the males' fitness made by males. In the experiment subjects estimated fitness indicators of a woman and a man differentiating in possessing a kind of imagination and kind of situation in which they appeared. The results supported the first hypothesis, but with reference to the 'copying' fitness indicator only. In this case, in opinion of subjects the 'experimental woman' as well as the 'experimental man' who posses the creative imagination will better copy in the presented situations that characters who posses the reproduction imagery. In reference to the second hypothesis (as well as in reference to the 'copying' fitness indicator) it showed that adaptation's benefits which are tied with possessing the creative as well as reproductive imagination admittedly exist but despite the kind of situation in which they are useful. The third hypothesis hasn't been supported. The compatibility rule was supported only in the case of a man fitness estimation, man who had the creative imagination and was in the usual situation. Thus it seems that both genders prefer the specific kind of the creative imagination - the 'creative practical imagination' and preference by women the males' creative imagination in the unusual situation is additional, 'fuzzy' selection criterion and it can be very important in some conditions (for example, excess of males on the 'sexual market').

9

IMAGINATION AND INTUITION IN THE POETIC PHILOSOPHIES OF SAMUEL TAYLOR COLERIDGE AND MUHAMMAD IQBAL

70%

Mohd Ramli A.

World Literature Studies

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2016

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tom 8

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nr 1

98 – 111

EN

The stress that English Romanticism laid upon a poet’s imaginative capacity as a source of poetic inspiration finds its clearest expression in the writings of its philosopher Samuel Taylor Coleridge (1772–1834). Unlike many of his English contemporaries, he developed a philosophy of poetic inspiration that conceptualized the notion of imagination within the context of a Christian theology that was informed by both Neoplatonism and German idealism. As a student and later lecturer of English literature, the Muslim poet Muhammad Iqbal (1877–1938) had been exposed to both English Romanticism and German idealism. Though he recognized the importance of imagination as a source of artistic creativity, Iqbal emphasized intuition as a higher form of poetic inspiration. By adopting as well as adapting certain aspects of English Romanticism and then merging it together with Islamic theology in his poetry, Iqbal argues for the importance of a special type of intuition, the “intuition of existence”, as a form of poetic inspiration. This paper, hence, is a comparative study of English Romanticism’s emphasis on imagination and Iqbal’s notion of intuition, in order to discuss the important roles that both Christian and Islamic theologies played in both poets’ poetic philosophies respectively.

10

IN SEARCH OF PHILOSOPHICAL IMAGINATION: PRESENCE, DEPTH, AND PARTICIPATION

70%

Polak M.

Kwartalnik Filozoficzny

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2008

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tom 36

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nr 3

17-43

EN

After a brief introduction to the problem of imagination (understood as an object of philosophical inquiry), the author establishes his principal distinction between two kinds of imagination: representing and participating. He also proposes a more detailed analysis of the latter, including a review of his privileged metaphors (source and warmth) and conceptual connections (presence and participation). Moreover, the article is devoted to the question of the relation between the philosophy of presence and the philosophy of absence, approached from an imaginative perspective. In conclusion, the author presents theses concerning philosophical activity itself, which is developed along the following lines: experience - vision - notion.

11

Ciało i cielesność w sztuce animacji Jana Švankmajera

70%

Dabert D.

Slavica Wratislaviensia

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2011

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tom 153

769-778

EN

The text is devoted to the film works of Jan Švankmajer, one of the most famous Czech surrealists still alive. In his films the artist uses a technique that combines collage, drawing, dolls, objects and natural plastics with traditional feature movie in order to challenge the dichotomous order of the animate and inanimate world. Objects, which are brought to life, become empowered in the works of the Czech artist. Revealing the “corporeality” of inanimate matter becomes the leading idea of Švankmajer’s “tactile art,” according to which objects, thanks to the encoded memory of the human touch, are capable of reflecting various mental situations. A particular anthropomorphization of inanimate matter finds its counterbalance in reification activities that man is subjected to in the films of the Czech artist. The surreal world of Švankmajer’s imagination, drawing on the abundant tradition of European, but mainly Czech, surrealism, as well as other cultural inspirations, first of all asks questions regarding the indifferentism of the contemporary man and the tendencies of dehumanization in today’s world. The text constitutes an attempt to ponder on the concept of body and corporeality in the animation works of one of the most outstanding artists of the turn of the 20th and 21st centuries.

12

COGNITION AND IMAGINATION IN THE POETRY OF WILLIAM WORDSWORTH

70%

Pokrivčák A. , Pokrivčáková S.

World Literature Studies

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2015

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tom 7 (24)

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nr 4

3 – 12

EN

Work on cognitive literary studies has been one of the approaches revealing new aspects of literary phenomena for some time. The article attempts to use a cognitive terminological framework to discuss the concept of imagination, which is perhaps the phenomenon most frequently associated with the nature of literature. It sets out some basic features of the imagination developed throughout history, ending in Romanticism, i.e. in the period during which imagination saw its greatest flourishing, first in the theoretical work of T. S. Coleridge, and then in the poetry of William Wordsworth and the other Romantic poets. Wordsworth’s imagination is characterized as greatly determined by the temporality of his poetic seeing of the world, and is illuminated through the concept of the episodic memory and its role in the construction of the present and the future. It is claimed that the poet selectively re-imagined elements of the past to build an ethically and spiritually charged present and future resulting in the creation of the wholeness of his life. Cognitive analysis of Wordsworth’s poems can thus show the author in a more realistic light, free of the transcendental aura that has often been attributed to him.

13

WHY YOU CAN’T ACTUALLY IMAGINE THE IMPOSSIBLE (BUT THINK THAT YOU CAN)

70%

Malik L.

Organon F. medzinárodný časopis pre analytickú filozofiu

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2015

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tom 22

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nr 4

499 – 517

EN

There are philosophers who think that it is possible to imagine the meta-physically impossible. On the one hand, there are philosophers that think that only knowledge limits what one can imagine. Prior to knowledge of certain facts the imagination is unbounded. On the other hand, there are philosophers who think that the imagination is unconstrained whatever. The author shall argue that (a) it is not actually possible to imagine what is metaphysically impossible, though (b) it appears to be possible. He takes this to be a defence of the Kripkean view. He aims to develop an understanding of the imagination that can accommodate this view.

14

Ambivalentní odkaz Millsovy Sociologické imaginace

70%

Balon J.

Sociologický časopis. Czech Sociological Review

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2009

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tom 45

|

nr 5

1055-1073

EN

Charles Wright Mills wrote his renowned and bestselling The Sociological Imagination fifty years ago with the ambition of providing an alternative to the theoretically unsubstantial and methodologically inhibiting approaches that predominated at that time. His battle against the idea of a politically and morally neutral understanding of social inquiry was rhetorically compelling and anticipated the radical voices that would be heard in the late 1960s. It is argued in this article that probably the best lesson we can get from Mills has to do with his understanding of 'sociology as a profession'. His argument addresses crucially important questions about the public relevance of social inquiry and the underlying themes of social-scientific reflexivity, creativity, and non-conformity. However, despite his rhetorical force and stylistic brilliance, Mills' overall message is considered ambivalent. His concept of social inquiry based on identification of morally and politically relevant problems ultimately leads to the vaporisation of the very substance of social inquiry and to the institutional debilitation of the field as such. The resulting uncertainty concerning the basic means and ends of sociology, together with a hyper-tolerance towards the delineation of sociological research area, often leads to the identification of relevant problems on the basis of individual choice, inspiration, creativity, or imagination. It is suggested that this understanding of Mills' legacy usually results in the trivialisation and parody of the overall message embodied in The Sociological Imagination.

15

Leopold Blaustein: Imaginary Representations; The Role of Perception in Aesthetic Experience

60%

Rosinska Z.

Estetika: The Central European Journal of Aesthetics

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2011

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tom 48

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nr 2

199-243

EN

The introduction to Leopold Blaustein's (1905-1944) two essays in this issue of Estetika contains a general biographical note about the author and his philosophical affiliations, as well as a brief description of his particular interests within philosophical aesthetics. Blaustein's method of philosophical inquiry is described as analytical phenomenology. Three interconnected fields of aesthetics in Blaustein's works are emphasized: the theory of aesthetic perception, the theory of attitudes (towards the imaginary world and the reproduced one) and the theory of representation, especially the imaginary representation crucial for aesthetic perception. Blaustein's theory of perception and aesthetic experience is discussed in greater detail in the introduction as well as represented by the essay 'The Role of Perception in Aesthetic Experience'. His theory of imaginary representation is exemplified by a selection from his important book Przedstawienia imaginatywne (Imaginary representations, 1930). The introduction ends with an account of the idea of 'experiential unity of a higher order', which for Blaustein serves as the condition for the possibility of aesthetic experience and constitutes an important background for an understanding of Blaustein's aesthetics.

16

Aesthetic Disinterestedness in Kant and Schopenhauer

51%

Vandenabeele B.

Estetika: The Central European Journal of Aesthetics

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2012

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tom 49

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nr 1

45-71

EN

While several commentators agree that Schopenhauer’s theory of ‘will-less contemplation’ is a variant of Kant’s account of aesthetic disinterestedness, I shall argue here that Schopenhauer’s account departs from Kant’s in several important ways, and that he radically transforms Kant’s analysis of aesthetic judgement into a novel aesthetic attitude theory. In the first part of the article, I critically discuss Kant’s theory of disinterestedness, pay particular attention to rectifying a common misconception of this notion, and discuss some significant problems with Kant’s approach. In part two, I argue that Schopenhauer gives up Kant’s concern with the transcendental conditions of the reflecting judgement, but nonetheless retains two crucial aspects of Kant’s analysis: first, the idea that pure aesthetic pleasure cannot be based on the satisfaction of some personal desire or inclination and, second, that aesthetic experience is ultimately based on the stimulation of our cognitive powers. For Kant, too, suggests that, although our application of the predicate ‘beautiful’ be independent of the subsumption of the object under any determinate concept, it still leaves room for the imagination and the understanding to play ‘beyond’ what is regulated by determinate concepts. For Schopenhauer, aesthetic pleasure is equally the result of the cognitive freedom and expansion that the ‘will-less’ attitude affords. Schopenhauer thus transforms the Kantian transcendental analysis of beauty in terms of ‘non-conceptual reflection’ into a psychological theory of beauty in terms of ‘non-conceptual cognition’. Hence, according to both Kant and Schopenhauer (or so I argue) a beautiful object yields a degree of harmony that cannot be reduced to the discursively rigid unity offered by conceptual knowledge. And, although Schopenhauer’s ‘idealistic’ version of aesthetic perception fails to accommodate for several valuable ways in which artworks can convey ideas, thoughts, and emotions, his account of aesthetic contemplation in terms of ‘will-lessness’ and objectivity is still rich in psychological insight.