Wyniki wyszukiwania - Biblioteka Nauki

1

The Challenges of Contemporary Art, Aesthetics, and Society within Pandemic 2020

100%

Tilta E.

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nr 1

102-117

EN

This article is dedicated to the specific questions of the global change of cultural paradigms and cultural movements. “The Challenges of Contemporary Art, Aesthetics, and Society within Pandemic 2020” is an opportunity to reflect upon the importance of contemporary aesthetics, arts, and social problems related not only to the digitalization and globalization aspects but also to the change of the understanding of the reality in the context of Pandemic 2020 and the global brand — new experience of lockdown. The main challenges of contemporary aesthetics, culture, and society are relationships between the relation of reality and virtuality and between digitalization and the art world and aesthetics. These relationships raise a question upon popular mainstreams, their influence on contemporary arts, and the possibility to keep the classic notions of aesthetics. Additionally, this article helps to maintain the drastic change in the whole world’s social structure. It gives a theoretical explanation and systematization for a clearer understanding of current aesthetic terms “beauty” and “sublime” as trends and correlations. As well as introduces a specific change in cultural paradigm because of the Pandemic and sharply developing integration of virtuality into the modern culture.

2

The Utopian and the Gothic in Ellis James Davis’s ”Pyrna: A Commune; or, Under The Ice”

88%

Komsta M.

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tom 43

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nr 2

DE

Der Artikel enthält Zusammenfassungen nur in Englisch.

EN

The paper discusses spatial modelling in Ellis James Davis’s Victorian utopia, Pyrna: A Commune; or, Under The Ice (1875) in the context of appropriating the Gothic mode into the utopian convention. In what follows, by examining selected aspects of the novella’s presented world, this article argues that the Gothic tropes of numinosity and sublime constitute significant elements of the examined narrative as major defamiliarizing components of the semiotically monolithic utopian spatial model.

FR

L'article contient uniquement les résumés en anglais.

3

Dialektyka wstrętu i wzniosłości w myśli Fryderyka Nietzschego

88%

Jaksender A. Z.

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nr 2(25)

68-82

XX

The article is an attempt to develop a critical interpretation of the category of sublime, which is present in writings of Friedrich Nietzsche: starting from the earliest letters sublime appears in the rhetorical style and archetypal metaphors of this philosopher. The sublimity of Nietzschean style is interpreted in psychoanalytical perspective. This interpretative method enables revealing of the dialectic of desire, which determines Nietzsche’s notion of the will to power. Traces of disgust and moments of sublime emerging out of the writings of Nietzsche are considered in this article as symptoms of relation to phantasmal object of desire (objet petit a in Lacan’s dictionary). In Nietzsche’s writings symptomatic metaphors of elevated Magnitude are accompanied with descriptions of abjection towards everything that should be defeated in man, everything that is feeble and weak. Hereinafter article portrays how Nietzsche became overwhelmed by his phantasm of man conceived as a “bridge” leading to “superman,” that is to say, by his phantasm of superman conceived as incessant movement of transgressing the (self) abjection.

4

Humanistica e teologia

75%

Borges de Meneses R. D.

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nr 2(4)

21-45

EN

According to Kant beautiful is the lust object, and he refers to the universal complacence that universality is beautiful, and the sublime será o ânimo estético that comes from aesthetic judgment. However, according to St. Thomas from Aquinas beautiful is – quod visa placent.

5

Agalmatophilic Pygmalions: Burke and Winckelmann on the Beautiful and the Sublime

75%

Antal É.

Eidos. A Journal for Philosophy of Culture

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2024

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tom 8

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nr 1

39-68

EN

There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste.

6

“BETWEEN REAL PLACE AND MENTAL LANDSCAPE” THE MODERN SUBLIME IN PETER BOARDMAN’S AND JOE TASKER ’S ACCOUNTS OF CLIMBING CHANGABANG

63%

Moczyńska J.

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2017

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nr 52(1) Filologia

139-151

EN

This article focuses on the accounts of climbing the particularly difficult West Wall of Changabang, a mountain in the Garhwal Himalaya, by a team of two British mountaineers: Peter Boardman and Joe Tasker. Close-reading of these non-fiction narratives is aimed at tracing the echoes of the best-known theories of the sublime developed by Edmund Burke and Immanuel Kant, as well as the modern interpretation of the concept by Jean-François Lyotard. It appears that, though never explicitly referring to the sublime, Boardman’s and Tasker’s portrayals of their Changabang expedition not only contain some of its conventional elements, but also highlight the impossibility of representation and internal contradictions that are now emphasized as its important characteristic features. Based on Tsang Lap Chuen’s theory of the sublime, the article is an example of reclaiming the now mostly art-related concept so that it is more closely linked with real-life experience. In this way, mountain literature can be read as a reflection of the process at the origin of a cultural construct.

PL

Przedmiotem analizy są relacje ze wspinaczki wyjątkowo trudną Ścianą Zachodnią himalajskiej góry Changabang przez dwuosobową wyprawę brytyjską – Petera Boardmana i Joego Taskera. Szczegółowa analiza opisów autentycznych wydarzeń pozwala odnaleźć elementy zarówno najbardziej znanych teorii wzniołości (sublime) sformułowanych przez Edmunda Burke’a oraz Immanuela Kanta, jak i współczesnej interpretacji tego pojęcia przez Jean-François Lyotarda. Choć sama koncepcja wzniosłości nie jest bezpośrednio przywoływana przez Boardmana i Taskera, ich relacje z wyprawy na Lśniącą Górę zawierają odniesienia do poszczególnych konwencjonalnych motywów, a także uwypuklają niemożność pełnego odzwierciedlenia przeżyć oraz wewnętrzne sprzeczności Bazując na teorii wzniosłości zaproponowanej przez Tsanga Lap Chuena podjęto próbę odzyskania pojęcia wzniosłości, używanego obecnie głównie w kontekście sztuki, na potrzeby opisu autentycznych doświadczeń i przeżyć. W tym ujęciu literaturę górską można interpretować jako odwzorowanie procesu, który ukształtował sublime jako kulturową konstrukcję myślową.

7

At the interplace: Giant, Tino Villanueva and America’s promise of diversity

51%

Welizarowicz G.

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nr 14/2

141-157

EN

The two founding conceptions of the “sublime” are Burke’s and Kant’s. Drawing from Casey (and Buber), the article introduces a third concept of the “interplace”, an in-between, relational space of mutuality. Building on this notion, it is argued that Tino Villanueva’s collection Scene from the Movie GIANT, written in response to the climactic scene of the film Giant, enacts an intervention into the scene’s interpellating force and, in so doing, doubly embodies the interplace. Further, it is argued that the film’s two scenes stage allegorically an interplace of the white American patriarchy’s dilemmas of the 1950s. The scenes problematize America’s ability to change and follow through on the promise of reconciliation in diversity. The last section of the paper reviews a number of paradigmatic challenges America has been rehearsing in the past decades and argues that the current backlash against the transformative agenda constitutes a disappointment of the hopes expressed by Giant and Villanueva. The divisive rhetoric of today represents a retreat from the interplace of dialog.

PL

Dwie założycielskie koncepcje pojęcia “sublime” pochodzą od Burke’a i Kanta. Czerpiąc z propozycji Casey’a (i Bubera), artykuł wprowadza trzecią koncepcję interplace jako przestrzeni dialogu w miejscu „pomiędzy”. Pojęcie to zastosowane jest do analizy zbioru poetyckiego Scene from the Movie GIANT Tino Villanuevy, który powstał w odpowiedzi na kulminacyjną scenę filmu Gigant. W dalszej części artykuł dowodzi, że dwie sceny filmu można traktować jako alegoryczne przedstawienie interplace dylematów białego amerykańskiego patriarchatu w latach 50. XX wieku. Sceny te problematyzują zdolność Ameryki do zmiany i pojednania w różnorodności. W ostatniej części zarysowane są wyzwania paradygmatyczne, z jakimi zmagała się Ameryka w ostatnich dekadach, a zwrot ku konserwatyzmowi zinterpretowany jest jako zawiedzenie nadziei Giganta i Villanuevy. Rozłamowa retoryka współczesności stanowi ucieczkę od dialogicznego interplace.