Wyniki wyszukiwania - Biblioteka Nauki

1

The Category of Ugliness in "Historie maniaków" by Roman Jaworski

100%

Sikorska M.

Czytanie Literatury. Łódzkie Studia Literaturoznawcze

|

2020

|

nr 9

237-252

EN

The article undertakes to interpret the collection of short stories titled Historie maniaków by Roman Jaworski using the category of ugliness. So far, this work has been analysed through a different aesthetic category, namely the grotesque, while the author himself drew attention in the discussed collection of short stories to ugliness and recommended that it should be chosen as the principle perspective. The analysis focuses on the impact of the ugliness category on the shaping of elements of the world presented in the work: the creation of the characters and their corporeality, settings, as well as the very composition of the collection and the construction of the language used by the author. The paper finishes with an attempt to interpret Historie maniaków using contemporary humanistic theories, which consider the category of ugliness as a positive value.

2

Sztuka odsłaniania w twórczości Francisa Bacona

88%

Góra S.

Estetyka i Krytyka

|

2015

|

nr 1(36)

55-69

EN

The article aims to investigate Francis Bacon’s works in the broader cultural and philosophical context. Tracking down the influence of other artists on Bacon’s art and the symbols visible in his paintings leads to valid conclusions related to the problems of the artists of the twentieth century. These are: human loneliness, abandonment by the Creator, reduction of human being to mere bodies and the question of the existence and location of an immortal soul.

3

O brzydocie i sposobach jej utrwalania

75%

Bonenberg W.

Czasopismo Techniczne. Architektura

|

2011

|

tom R. 108, z. 4-A/1

75--81

PL

Artykuł jest autorską refleksją na temat brzydoty w architekturze. Inspiracją do przemyśleń w nim zawartych są badania Umberto Eco, Karola Bergera i Witolda Gombrowicza Refleksje dotyczą szczególnie brzydoty jako atrybutu przemian architektury w dobie społeczeństwa medialnego. Przesądza to o aktualności zaprezentowanych rozważań, które w zamiarze autora mogą mieć również wartości inspirujące.

EN

The paper presents a reflection on ugliness in architecture. The inspiration for reflections contained in it are studies of Umberto Eco, Karl Berger and Witold Gombrowicz. In particular, it contains reflections on ugliness as an attribute of change in architecture, typical for an era of media society. According to the author, presented considerations may have inspirational value.

4

The Transformation of Ugly into Beautiful in the Literature of Decadence

75%

Fuchs A.

Academic Journal of Modern Philology

|

2015

|

tom 4

33-40

EN

The transformation of ugly into beautiful is a feature of decadent literature. The embellishment of ugliness was important for the decadents to distinguish themselves from the followers of Classicism, who rejected the close representation of ugliness, from the naturalists who inserted ugliness in their works for the sake of a faithful representation of reality, and from such writers and theorists, who allowed the representation of ugliness only on condition that it turns the attention to its opposite, i.e. the beauty. The decadents, by inserting ugly subjects in their works, wanted to prove the power of art, which can embellish ugliness too. By their artistic solutions, the decadents showed that ugly subjects need not be banished from literature, because the form of a work is more interesting than the subject. Huysmans writes on his hero, Duke Des Esseintes: “only the work of his brain [the writer’s] insterested him, regardless of the subject” (2009: 244). The decadent embellishment of ugliness had influence on the later periods of literature too. Even if there are important differences between Decadence and Avant-garde, the concept that art can embellish ugliness was a prior condition of the birth of the historical Avant-garde trends.

5

The ugly in fine arts. The sensory nature of terror in the tales of the Brothers Grimm

75%

Szwajkowska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2017

|

tom 43

|

nr 5

223-240

EN

The author, inspired by philosophical aesthetic reflection, presents one of the aesthetic qualities: ugliness. Based on the assumption that “Grimms’ Fairy Tales” directly reach the realm of the unconscious, utilising towards that end not only symbolic meaning, but also a wide range of operations through imagined sensory perception, she identifies in the texts such fragments of the stories which relate to specific sensations caused in the real world using physical stimuli. The analysis constitutes only a case-based introductory study of the issue of senses in literary texts. She does not focus on the tale as an independent existential creation, which carries a multitude of interpretative references and meanings, only the possibilities offered by the analysis of a work, which consists of a transfer of a literary description to the imagination of the sensory experience occurring (hypothetically) in the receiver’s imagination.

6

Die Entzauberung des Westens in Julia Francks Roman Lagerfeuer

71%

Jaśkiewicz G.

Tematy i Konteksty

|

2017

|

tom 12

|

nr 7

402-411

PL

This text is devoted to the phenomenon of realism in postwar German novel on the example of the younger generation author Julia Franck (Born 1970). The tradition of realistic writing in German literature reaches the first half of the 19th century when mainly Georg Büchner postulated and realized realistic art. Consecutive authors, the great realists of the 19th century like Theodor Fontane saw in realism not only the reflection of reality in literature but embellishing it. After World War II great German writers like Böll, Andersch, Koeppen or Walser recalled Western Germany with its society in their realistic novels. Their characteristic feature was objectively marked narration. And Franck’s novel is this way as well. Told from the perspective of four people it shows what was „talked about”. Repatriation or escape to the West did not mean entering paradise. Runaways still experience humiliation, have to deal with the environment and themselves. The esthetic category is ugliness. And from this perspective the lives of heroes/narrators are analyzed.

7

Discovered by Diversity: Error in Art as a Tool of Metaphysical Cognition. Case Studies

63%

Solewski R.

Sztuka i Dokumentacja

|

2020

|

nr 22

47-55

EN

The text starts with the assumption that a mistake understood in various ways can serve cognition on many levels. Examples from the field of aesthetics and contemporary art are described and interpreted. It is picturesqueness as a beauty “spoiled” by a mistake constituting an aesthetic value, an accidental breakage of Marcel Duchamp's The Large Glass revealing an order different to the ordinary course of events and time, distortions in Stan Brakhage's structural film paradoxically revealing love, demonstrating cognitive imperfection of the senses in the interactive video staging of Samuel Beckett's Breath and in illusion constructed in Olafur Eliasson's Weather Project, critical use of ugliness to expose and criticize the system by Leon Golub's "bad drawing style", ironic music video by Laibach, or a subversive film by Martin Arnold, imbalances creating non-ordinary spaces in M. C. Esher's graphics, and errors programming new orders in the digital world of Jared Tarbell, and finally non-places exposed in in the "bad style" photographs of Edward Ruscha or used in installations by Grzegorz Sztabiński. Deliberate distortions, deformations, errors, mistakes, imperfections, accepted randomness or "parasitism" present in these works are presented as inquiries concerning cognitive possibilities and searches leading to the disclosure of spaces and orders different from those experienced daily, in which one can see the striving to achieve metaphysical cognition.

8

„Pójdę w potworność zjawisk”. O wyobraźni poetyckiej Marii Pawlikowskiej-Jasnorzewskiej

63%

Hurnik E.

Świat i Słowo

|

2023

|

tom 40

|

nr 1

239-251

EN

[„I will focus on the monstrosity of phenomena”]. On the poetic imagination of Maria Pawlikowska-Jasnorzewska. This article examines a selection of Maria Pawlikowska-Jasnorzewska’s poems inspired by the Baroque imagination. In her last volume of poetry published by the interwar poet before the Second World War (Szkicownik poetycki) she pays tribute to the late Baroque poet, Józef Baka. Pawlikowska-Jasnorzewska analyses the imagery, mood and language of his work, which encourages the reader to look at the sources of her poetic outlook. From the very beginning of her poetic development, Pawlikowska-Jasnorzewska was fascinated by the natural world, both its beauty and ugliness, the latter involving the processes of decay, decomposition and death in their various forms. The analysed poems show a sense of the duality of the world, awe, and absurdity of existence, reflect in the complexity of all phenomena. This attitude is built on the base of the original poetic technique of Pawlikowska-Jasnorzewska, and at the same time demonstrates associations with the Baroque poetry.

9

Między karykaturą a ironią w wybranych obrazach Quentina Metsysa

63%

Strug A.

Roczniki Humanistyczne

|

2013

|

tom 61

|

nr 4: Historia Sztuki

81-102

EN

For centuries the face has been considered an important part of the human body. Since ancient times until the present day a close connection with a man's inner (spiritual, psychological) properties has been ascribed to his face. The individual character of a person that finds its reflection in his/her physiognomy is a domain of interest of the portrait as a separate genre in art. The meanings that have been ascribed to the face have to a certain degree determined the ways it has been presented in European visual arts. The image of an ugly face has become one of the variants of presentation of this part of the body. Ugliness of the human face may have various forms. We know of presentations of deformed physiognomies, which resulted from experiencing strong emotions, as well as of images of evil figures to whom ugliness is ascribed as a feature resulting from the moral appraisal. One of the kinds of portrait compositions using deformed shapes of the face is caricature. It aims at ridiculing the presented person by deforming and magnifying its chosen features. Ugliness is in a way connected with humor. This connection can be seen, among others, in caricature that arouses amusement. Among the presentations that provoke laughter several varieties of humor may be distinguished. One of its kinds is irony. The main motif of the present paper is searching for this kind of humor, in which the element of criticism and of ridiculing another person can be seen. Two Quentin Metsys’s paintings were analyzed: „Ecce homo” from the Palazzo Ducale in Venice and „A Grotesque Old Woman” from the National Museum in London. Some traits of irony that are suggested in these works are an inspiration for further studies in this field.

10

BRZYDOTA KICZU I BRZYDOTA BRUDU. DWA WARIANTY ANTYKALLIZMU W TWÓRCZOŚCI BRUNONA SCHULZA

63%

Sowińska I.

Świat Tekstów. Rocznik Słupski

|

2018

|

tom 16

77-92

EN

The article presented here contains a detailed analysis of two variants of ugliness aes-thetics in the work of Bruno Schulz. In the first part, aesthetics is discussed here as the “ugliness of kitsch”, i.e. the concept of valuing rubbish and bad taste. The author points out their similarities with the aesthetics of Camp. The second part of the article is devot-ed to the naturalist ugliness of the world presented in Schulz’s works. The fascination with disease, impurity and self-imposition is called “the ugliness of filth”. According to the author, all these phenomena fall within the definition of “anti-callistic” – the concept of art proposed by a Polish art historian.

11

Gest przeciwko Stwórcy i kulturze – o skandalu estetycznym na podstawie Frankesteina Mary Wollstonecraft Shelley

63%

Dziugieł-Łaguna M.

Prace Literaturoznawcze

|

2015

|

nr 3

45-56

EN

M. Wollstonecraft Shelley's novel grew out of the experience of modernity. Technological progress and science put up a man on the threshold of the nineteenth century in a new cultural situation. This experience of reality as continuous change in man caused various fears to grow, which in turn required from him to develop new values, to determine what is good and what is bad. In such a situation is the title character of the novel Frankenstein, which deals with the scientist, who creates a new life without the participation of woman. So in terms of subject matter, character construction, who turns out to be an anticreator, the novel became an aesthetic shock to the audience, when it was supposed to be a novel about human dreams and fears.

12

Diablo piękny

51%

Piwnikiewicz M.

Amor Fati

|

2016

|

nr 1(5)

149-164

EN

This article’s thesis was an intention to analyze Hannibal Lecter’s way of thinking about beauty. The character of Thomas Harris’ novels series takes on the role of murderer-artist, who creates gruesome installations made of human bodies and prepares exquisite, cannibalistic delights. The first part of the article is a reflection on the possibility of a complete separation of ethics to aesthetics. It is an attempt to answer the question whether evil can be beautiful or just wear the beautiful mask. In the next part the author analyzes Hannibal’s artistry both in the Thomas Harris’ novels and their film adaptation by Bryan Fuller through the prism of Nietzsche's conception of art. The end of the article introduces the spiritual thread for discussion of aesthetics works by genius killer. Their beauty has signs of devilishness. Ambivalent feelings felt by recipients of Dr. Lecter’s art, bear the marks of moral warning.

13

Beauty in The Universal Encyclopedia of Philosophy

51%

Jaroszyński P.

Studia Gilsoniana

|

2018

|

tom 7

|

nr 4

579-595

EN

The author considers the problem of beauty. He identifies beauty as an analogically understood property of reality, of human products (including art), and of the human mode of conduct, and as that which, in the tradition of Western culture, is expressed under the form of harmony, perfection, or splendor, which as beheld and for beholding arouses complacency or pleasure. The article discusses the following topics: classical theories of beauty, beauty in the metaphysical conception, beauty in aesthetics, the separation of beauty from reality, and the problem of ugliness.

14

Diabeł straszniejszy niż go malują. Lęk przed diabłem w XIII-wiecznym zbiorze Vie des peres

51%

Gorecka-Kalita J.

Acta Universitatis Lodziensis. Folia Litteraria Romanica

|

2022

|

tom 17

|

nr 2

63-77

EN

The article analyses the vision of the devil in the selected tales of the Vie des peres, a collection of pious tales from the thirteenth century, freely inspired by patristic literature and medieval exempla. The period in which the collection was written, the thirteenth century, bridges the gap between the early and late Middle Ages: it is a time when the perception of the devil is changing, and he is becoming increasingly feared. The analysis focuses mainly on four stories in which the devil is at the centre of the story, and in which his very image is a source of fear and a key element of the story: ‘Devil’s Mouth’, ‘Devils Vision’ and two versions of ‘Devil’s Image’. The vision of the devil in these stories coincides with the teratological vision that is dominant in the iconography, to which the stories directly allude. The message of these stories is generally positive: the protagonists almost always manage to overcome their fears and free themselves from the power of the devil. In this way, the authors avoid the trap of Manichaeism: the devil, despite his cunning and sophistication, is in the end only a caricature of an angel, unable to oppose God effectively. The fear of the devil appears several times on the pages of Vie des peres, but it is the message of hope that dominates.

FR

L’article analyse la vision du diable dans les contes choisis de la Vie des peres, recueil de contes pieux du XIIIe siècle, librement inspiré de la littérature patristique et des exempla médiévaux. La période de la rédaction du recueil, le treizième siècle, marque la transition entre le haut et le bas Moyen Âge : c’est une époque où la perception du diable évolue et où celui-ci devient de plus en plus redouté. L’analyse se focalise surtout sur quatre récits dans lesquels le diable est au centre de l’histoire, et où son image même est source de peur et élément clé du récit : « Gueule du diable », « Vision de diables » et deux versions d’« Image du diable ». La vision du diable dans ces histoires coïncide avec la vision tératologique qui domine dans l’iconographie, à laquelle les histoires citées font d’ailleurs directement allusion. Le message de ces histoires est généralement positif : les protagonistes parviennent presque toujours à surmonter leurs peurs et à se libérer du pouvoir du diable. Les auteurs évitent ainsi le piège du manichéisme : le diable, malgré sa ruse et sa sophistication, n’est finalement qu’une caricature d’ange, incapable de s’opposer efficacement à Dieu. La peur du diable apparaît à plusieurs reprises sur les pages de la Vie des peres, mais c’est le message d’espoir qui domine.

15

Kondycja architektury naszej współczesności: primum; secundum; czyżby też i tertium datur?

51%

Włodarczyk J. A.

Architecturae et Artibus

|

2012

|

tom Vol. 4, no. 1

58-64

PL

W odwołaniu się do przykładów architektury międzywojnia (wczesny modernizm), jako też PRL-u (modernizm dojrzały), autor próbuje scharakteryzować i uporządkować obraz polskiej architektury, czy lepiej: przestrzeni ostatniego ćwierćwiecza, zaistniałej po roku 1989 w Polsce, w nowych warunkach politycznych, społecznych i gospodarczych. Obraz ten jawi się jako bardzo zróżnicowany: od liczących się osiągnięć w zakresie formy i funkcji, logiki czasu i miejsca, po totalną dezorganizację, chaos przestrzenny i brzydotę

EN

With reference to architecture of the early modernity of the between-two-world-wars time and the after-the-second-worldwar (polish people’s republic), the author tries to characterize and to tidy the picture of architecture and urban space realized after the year 1989, times of the new order of the policy, the social conditions and economy. This picture seems to be extremely differentiated: from the big achievements in form and function to completely disorganisation and ugliness of the architectural space.

16

Eliza Orzeszkowa – Entuzjastka portretowania fizjonomicznego (część I)

38%

Skorupa E.

Annales Universitatis Mariae Curie-Sklodowska, sectio FF – Philologia

|

2016

|

tom 34

|

nr 1

EN

The article concerns the physiognomic portrayal in Eliza Orzeszkowa’s novel In the Provinces (Na prowincji). The writer used Johann Caspar Lavater’s treaty as well as his views on beauty and ugliness. Lavater’s theory was an example of the relation between soul and body; man became beautiful thanks to a particular type of professed morality. Orzeszkowa’s literary heroes always possessed more or less extensive physiognomic portraits, which explained their character. The observation of the “outer man” allowed the author to guess from bodily signs (head shape, mouth line, eye size, forehead, wrinkles, etc.) the “inner man”, his nature, character, strengths and weaknesses. The first part of the novel In the Provinces (Na prowincji) analyzed in a physiognomic manner shows the writer’s sensitivity for true and false beauty and the Greek kalos kagathos.

PL

Artykuł dotyczy portretowania fizjonomicznego w powieści Elizy Orzeszkowej Na prowincji. Pisarka korzystała z traktatu Johanna Caspara Lavatera, a także z jego poglądów na kategorie piękna i brzydoty. Lavaterowska teoria była przykładem związku duszy i ciała; człowiek stawał się piękny dzięki określonemu rodzajowi wyznawanej moralności. Bohaterowie Orzeszkowej zawsze posiadali mniej lub bardziej rozbudowane portrety fizjonomiczne, które tłumaczyły ich charakter. Obserwacja człowieka zewnętrznego pozwalała autorce na odgadnięcie z oznak cielesnych (kształtu głowy, linii ust, wielkości oka, wyglądu czoła, zmarszczek etc.) człowieka wewnętrznego, jego natury, charakteru, wad i zalet. Pierwsza część analizowanej pod kątem fizjonomicznym powieści Na prowincji pokazuje wrażliwość artystyczną pisarki na kategorie piękna prawdziwego i fałszywego, na greckie kalos kagathos.