Wyniki wyszukiwania - Biblioteka Nauki

1

The Idea of a Universal Bildwissenschaft

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Gaiger J.

Estetika: The Central European Journal of Aesthetics

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2014

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tom 51

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nr 2

208-230

EN

The emergence of Bildwissenschaft (image science) as a new interdisciplinary formation that is intended to encompass all images calls for an analysis of the grounds on which the claim to universality can be upheld. I argue that whereas the lifting of scope restrictions imposes only a weak universality requirement, the identification of features that belong to the entire class of entities that are categorized as images imposes a strong universality requirement. Reflection on this issue brings into focus the distinctive character of Bildwissenschaft and the features that distinguish it not only from other related disciplines such as art history and visual studies, but also from recent work in the philosophy of the image.

2

Refleksja o wzorcach ewolucyjnych

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Franta A.

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2006

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tom T. 51, z. 1-4

69-75

PL

Trzeba rozróżnić dwa pojęcia: wzorce "bazowe", źródłowe dla ewolucji, to jest te, od których ewolucja się zaczyna i wzorce "ewolucyjne", czyli te, które są jej, ewolucji, przykładami etapowymi, do których wracamy porównawczo, dlatego że przypisujemy im szczególną wartość, a porównanie z nimi naszych bieżących podejść i dokonań ma tę wartość przypisywaną zweryfikować. Tak można było odczytać intencję organizatorów konferencji "Polski Dom" w Kazimierzu Dolnym 6—7 czerwca 2004r. Tej intencji służył wyjazd do Nałęczowa: nowemu spojrzeniu na stare już dokonania jednego z naszych poprzedników w twórczości. Patrzenie na te dokonania dziś — jest inne od analiz i ocen sprzed lat stu. Tamto spojrzenie miało za układ odniesienia wzorzec bazowy (źródłowy) bardzo bogaty w przykłady: całe ówczesne Podhale — w odniesieniu do "zakopiańszczyzny" — i ogromną masę zróżnicowanych regionalnie wsi oraz względnie jednorodnych stylistycznie dworów i dworków. Miało również za układ porównawczy — nieco wcześniejsze, ale i niemal równoległe w czasie powstania — realizacje Witkiewicza w Zakopanem. Nasze dzisiejsze spojrzenie na przykłady z Nałęczowa ma podobne w istocie, ale i inne układy odniesienia. Bazowe - te same, lecz ilościowo sprowadzone do reliktów. Nie są, jak 100 lat temu, powszechne. Gorzej, praktycznie ich nie ma, przeszły w "sferę skansenu". Zakopiańszczyzna witkiewiczowska jest. Na dokonania Jana Koszczyca Witkiewicza patrzymy dziś w kontekście SGH w Warszawie i Sanatorium Dziecięcego na Bystrem w Zakopanem - jego najlepszych, późniejszych dzieł. Nasz obszar porównawczy "wzbogacony" jest również o rodzimą ewolucję spontaniczną - w dużym stopniu samowolną zabudowę "choinkową" (Pasmo Bańskiej od Maruszyny do Zębu oraz okolice Zakopanego od Szaflar do Witowa) ocenianą krytycznie, ale z pewną dozą uznania dla zauważalnej w masie zbieżności z wzorcami bazowymi. To dzisiejsze spojrzenie na nałęczowskie obiekty Jana Koszczyca Witkiewicza ma jeszcze jeden niezwykle ważny obszar odniesienia, także niedawny i współczesny profesjonalnej ewolucji architektury regionalnej ujawniającej się w schroniskach górskich (Tatry - Gorce - Beskidy), kościołach, "karczmach". Z obserwacji całego obszaru odniesień i porównań z przykładami twórczości Jana Koszczyca Witkiewicza - nasuwają się uwagi. Mają one oczywiście charakter subiektywny - ale i intencję obiektywizacji.

EN

The author differentiates between two types of buildings: those constituting "base" templates which are source templates for evolution, i.e. those from which evolution starts, and those constituting "evolutionary" templates, i.e. those to which we come back for the sake of comparisons since we assign particular value to them. The works of Jan Koszczyc Witkiewicz in Nałęczów which are mentioned in the discussion are evolutionary templates. The basis for them were the numerous examples of regional architecture which were observed by Witkiewicz personally but which did no survive to our times, pushed by two world wars and the post-war period into the "backwater" zone.

3

Kiedy malowidło staje się obrazem?

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Salwa M.

Estetyka i Krytyka

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2009

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nr 15-16

181-189

EN

The author argues that art history, while analyzing painting, mainly representational one, disregards the „moment” which is constituting for this genre of art, i.e. the point in which the physical ground „turns into” the representent world. This point can be called „no man’s land” and can be located only if it is seen from the two opposite poles that are split by it, i.e. either if it is seen from iconographical perspective or from the formalist one. An art historian who wishes to avoid onesidedness.

4

Pojęcie obrazu w koncepcjach Hansa Beltinga i Waltera Benjamina

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Wojtyra J.

Estetyka i Krytyka

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2009

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nr 15-16

214-224

EN

The article aims to present Hans Belting’s conception of image in the light of Walter Benjamin’s aesthetics. The interdisciplinary issues raised by both theorists go far beyond the reach of art history and the realm of visual experience. The article discusses, in particular, the following notions: external (physical) images, internal (mental) images and their interrelationships, and image migrations. It subsequently touches upon the complex problems of the medium, of perception and its changes due to technology, and explores the role of the subject in the interpretation of images.

5

Tracing the Life and Work of August Rozental

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Jaczynowski L.

Polish Journal of Sport and Tourism

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2015

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tom 21

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nr 2

107-112

EN

Introduction. The objective of this paper was to provide an overview of the life and work of a Polish artist and painter, August Rozental, who lived and worked in Bulgaria in the late 19th and early 20th century and is completely unknown in Poland. Documentation of his work may be of interest to both art historians and Polish travel agencies, the latter for marketing purposes. Material and methods. In searching for reliable information, the focus remained on historical, icono-graphic and epigraphic sources. Archival and museum collections were consulted, as were academic libraries, periodicals and internet sites (Polish, Bulgarian, Serbian and Russian). The information thus obtained was verified on the basis of three interviews with museology specialists. Results. The information was presented in terms of a description of the location and marketing product, to address the needs of cultural tourism. Consequently, the descriptions focus primarily on the artist's surviving works and their locations in monasteries in and around Sofia. Along the way, interesting information was discovered regarding the accomplishments of his brother Juliusz, a poet, and their father August, a doctor who years earlier was exiled to Siberia along with his family. Original, newly discovered documents containing personal information about August Rozental (the painter) are also presented. Conclusion. The research confirms his Polish origins and documents the current locations of his most interesting works of art. This makes them easily accessible to both specialists and tourists interested in the subject.

6

Patočka’s Interpretations of Hegel’s Thesis on the Past Character of Art

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Ševčík M.

Estetika: The Central European Journal of Aesthetics

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2015

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tom 52

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nr 1

78-114

EN

In his article ‘Art and Time’ (1966) Patočka argues that Hegel rightly recognized a fundamental difference between classical and contemporary art. In developing Hegel’s insight he offers a conception of two eras of art, the ‘artistic’ era and the era of ‘aesthetic culture’. Patočka supposes that artworks of both the artistic era and the aesthetic era always open up a certain ‘meaning’ that gives human existence its fundamental points of reference. The status of this world, however, radically changed from one era to the next. The art of the artistic era offered objective and binding meaning, whereas aesthetic art offers personal or individual meaning. The current article points to an important discrepancy in Patočka’s treatment of the relation between the two eras, and presents Patočka’s later reading of Hegel’s notion of the past character of art. From the perspective of this interpretation, art reveals temporality as such, that is, as the ontological basis of the revelation of meaning. The article emphasizes that such an interpretation demonstrates the ontological relevance of the artwork in greater detail. Yet Patočka continued to use the concepts of the artistic era and the aesthetic era, without sufficiently clarifying the relationship between the two eras. Finally, the author argues that the discrepancy in the concept can be resolved with the help of Patočka’s later reflections on the ‘problematic nature’ of meaning. The article argues that in classical art such a nature is concealed, whereas in modern art it is revealed again. The article includes an English translation of Patočka´s ‘Art and Time’.

7

Berlin Symposium on Post-culturalist Art History

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Davis W. , Christian H. C. , Stejskal J.

Estetika: The Central European Journal of Aesthetics

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2017

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tom 54 (New Series 10)

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nr 2

238-292

EN

‘Post-culturalist art history’ doesn’t take for granted the ontological fact of culture as the context and content in dealing with the concrete material things and aesthetic practices which make up the putative ‘objects’ of art history. And therefore it doesn’t take for granted the epistemological primacy of cultural history in interpretation and explanation of its objects. It means offering a nontautological analysis of the social emergence and partial consolidation of visual culture, including traditions of pictorial art. What this analysis claims and does in its terms and details is less important than the very fact of a strenuous effort to provide it. Precisely because post-culturalist thinking doesn’t take for granted the fact of culture and the primacy of cultural history, potentially it can situate itself in productive and practical ways in relation to non-cultural inquiries in art history and in studies of art. The present essays began as presentations given at a symposium organized by Jakub Stejskal at the Dahlem Humanities Center, Freie Universität Berlin, in April 2016.

8

The Beginnings of Art History and Connoisseurship Studies in Ancient China

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Łakomska B.

Roczniki Humanistyczne

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2014

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tom 62

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nr 9: Sinologia

103-120

EN

Artykuł przedstawia historię kształtowania się myśli o sztuce i antykach w dawnych Chinach, począwszy od czasów dynastii Wei i Jin po wczesny okres dynastii Song. Celem niniejszego tekstu jest prezentacja zarówno teoretycznych koncepcji na temat malarstwa i kaligrafii pisanych przez artystów i uczonych-urzędników w różnych okresach, jak również przedstawienie rodzącego się zainteresowania zabytkoznawstwem. Artykuł pokazuje, w jaki sposób studia nad teorią sztuki ulegały zmianie, osiągając większy stopień dojrzałości w połowie IX wieku n.e., tj. w momencie, kiedy Zhang Yanyuan napisał „Rejestr Słynnych Malarzy wszystkich Dynastii”, dając tym samym asumpt do kolejnych studiów nad sztuką.

9

Perspektive, Symbol und symbolische Form. Zum Verhältnis Cassirer – Panofsky

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Hub B.

Estetika: The Central European Journal of Aesthetics

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2010

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tom 47

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nr 2

144-172

EN

During the last two decades of the twentieth century, there was a sudden surge of interest in Ernst Cassirer’s major work, The Philosophy of Symbolic Forms (1923–29), and Erwin Panofsky’s essay, ‘Perspective as Symbolic Form’ (1927), an interest that has continued uninterrupted to the present day. Particularly amongst art historians, however, a serious misunderstanding remains evident here – the confusing of ‘symbolic form’ with ‘symbol’. Cultural and perceptual mediations, in which objects (and subjects) are only just in the process of forming, are carelessly turned into arbitrary, isolated objects of art history or pictorial history. Every work, in this view, is regarded as a ‘symbolic form’ to the extent that a representation of the world is ‘expressed’ in it. This article initially reviews Panofsky’s essay in order to establish the context in which the art historian uses the term ‘symbolic form’. His use of it is then compared with Cassirer’s original understanding of the term. A careful distinction is made between ‘symbol’, ‘symbolic pregnance’, and ‘symbolic form’, and this is followed by an analysis of scattered remarks in Cassirer’s writings, and particularly in his posthumous manuscripts and notes, on ‘art’ as symbolic form and on the spatial form that is prior to all perception and art production, as well as his call for a kind of art history that conceives of itself as a scholarly discipline. The article concludes with the recognition that Panofsky not only deliberately, but justifiably – that is, in the spirit of Cassirer, at least – transferred the expression ‘symbolic form’ to ‘perspective’.

10

What’s Wrong with the (White) Female Nude?

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Lavallee Z.

Estetyka i Krytyka

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2016

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nr 2(41)

77-98

EN

In “What’s Wrong with the (Female) Nude?” A. W. Eaton argues that the female nude in Western art promotes sexually objectifying, heteronormative erotic taste, and thereby has insidious effects on gender equality. In this response, I reject the claim that sexual objectification is a phenomenon that can be generalized across the experiences of all women. In particular, I argue that Eaton’s thesis is based on the experiences of women who are white, and does not pay adequate attention to the lives of nonwhite women. This act of exclusion undermines the generality of Eaton’s thesis, and exposes a more general bias in discussions of female representations in art. Different kinds of bodies have been subjected to different kinds of objectifying construal, and the ethics of nudity in art must be extended to take such variation into account.