Wyniki wyszukiwania - Biblioteka Nauki

1

Dedication to the Founding Mother and Fathers

100%

Degler J.

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nr 4(31)

29-31

2

Próba rekonstrukcji pierwotnej kolorystyki papierowego podłoża portretów Witkacego

88%

Zgodzińska B.

Przestrzenie Teorii

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2010

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nr 14

197-202

EN

In the years 2005–2006 at a Restoration Workshop of Muzeum Pomorza Środkowego [Museum of Central Pomerania] in Słupsk, Witkacy’s portraits were framed in a new passe partout and glass pane. Based on the photographs taken then of fragments on which the colour of the paper ground was preserved, a computer reconstruction of the original colour of the paper was made. Comparison of the portraits with their probable original versions allows to risk a claim that nowadays we have to do with totally different pictures. The colour of the paper has changed considerably, e.g. from its initial violet it has turned into grey-beige. Equally big changes can be observed between the reverse and the face. When framing the portrait, restorers found an unfinished portrait on the reverse. The examples presented in this work show how important for the knowledge of the artist and his work is drawing attention to a single work of art, which is best to study directly and not through its reproductions or studies on it.

PL

Zgodzińska Beata, Próba rekonstrukcji pierwotnej kolorystyki papierowego podłoża portretów Witkacego [An Attempt at Reconstruction of the Original Colour Scheme of the Paper Ground of Witkacy’s Portraits]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 197-202. ISBN 978-83-232-2210-1. ISSN 1644-6763. In the years 2005–2006 at a Restoration Workshop of Muzeum Pomorza Środkowego [Museum of Central Pomerania] in Słupsk, Witkacy’s portraits were framed in a new passe partout and glass pane. Based on the photographs taken then of fragments on which the colour of the paper ground was preserved, a computer reconstruction of the original colour of the paper was made. Comparison of the portraits with their probable original versions allows to risk a claim that nowadays we have to do with totally different pictures. The colour of the paper has changed considerably, e.g. from its initial violet it has turned into grey-beige. Equally big changes can be observed between the reverse and the face. When framing the portrait, restorers found an unfinished portrait on the reverse. The examples presented in this work show how important for the knowledge of the artist and his work is drawing attention to a single work of art, which is best to study directly and not through its reproductions or studies on it.

3

„Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką

75%

Okołowicz S.

Przestrzenie Teorii

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2010

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nr 14

217-233

EN

Polemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.

PL

Okołowicz Stefan, „Muszę mieć maskę, wściekłą maskę”. Polemika z Marią Anną Potocką [“I have to have a mask, a mad mask”. Polemicising with Maria Anna Potocka]. „Przestrzenie Teorii” 14. Poznań 2010, Adam Mickiewicz University Press, pp. 217-233. ISBN 978-83- 232-2210-1. ISSN 1644-6763. Polemicising with Maria A. Potocka’s view, the author reflects on the problem of mask and facial expression in the life and work of S.I. Witkiewicz. They appear here as an expression of philosophy of man, a specific feature of the personality of the author of Szewcy [The Shoemakers] whose whole life, artistic and philosophical activity was marked by “facial expression”. The article also reminds the unusually important texts of Stefan Szuman, Witkacy’s friend, who points to the essence of Witkacy’s portraits. The last question discussed in this article is the problem of ascribing to Witkacy of the authorship of most of the photographs in which he is presented (since they are a documentation of his artistic creations) while actually the authors of these photographs are a dozen or so photographer friends of Witkacy.

4

Epifanie metafizyczne I. Ingardena i S.I. Witkiewicza

63%

Polak M.

Estetyka i Krytyka

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2008

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nr 13-14

91-107

EN

The author in his article approaches and confronts metaphysical threads of conceptions authors mentioned above. It deals with some fundamental questions of aesthetics and widely comprehended philosophy: symbolization, metaphysical experience and symbolic participation. Apart from drawing a comparison between Ingarden’s metaphysical qualities and metaphysical feelings of Witkacy one can f ind here considerations concerning an event of epiphany and its metaphysical derivative – metaphany (this term was constructed and def ined by the author of the article). In this context it is proper to notice the analysis of basic symbolic senses: the vertical, the depth, the surface. At the end, the author sketches the universal structure of reality in which is situated metaphanical subject, i.e. the subject experiencing metaphysical epiphany.

5

Wstęp do metafizyki Stanisława Ignacego Witkiewicza

38%

Kościuszko K.

Humanistyka i Przyrodoznawstwo

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2016

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nr 22

207-219

PL

Autor niniejszego artykułu omawia Witkiewiczowskie pojęcie metafizycznej implikacji, spekulatywny charakter metafizyki wynikający z używania eksperymentów myślowych, metodę metafizycznej dedukcji pojęć, zadania metafizyki, stosunek metafizyki do badań empirycznych, stosunek metafizyki do nauki, krytykę fizykalizmu, stanowisko monadologiczne.