Wyniki wyszukiwania - Biblioteka Nauki

1

Getrennt oder zusammen? Isolation und Interaktion von Sprache und Bild in der Printwerbung

100%

Opiłowski R.

Annales Neophilologiarum

|

2012

|

nr 6

125-150

EN

Press and outdoor advertising utilizes in its semiotic multimodality two main codes: language and picture which are applied in advertising texts in different proportions, depending on product, advertising strategy and target group. Analysing German examples this article aims to present communicative, pragmatic and system determinants of advertising which is created only by using picture or text. However, the inter-action between language and picture generates a broader spectrum of forms and functions which are assigned to five main categories. These categories indicate less prototypal interactions of language and picture like commenting of a picture, illustrating of a language, mono-semantization of a picture, ambiguity of a language and mutual determination.

PL

Reklama prasowa i zewnętrzna posługuje się w swojej semiotycznej mulimodalności dwoma kodami centralnymi: językiem i obrazem. Teksty reklamowe posiadają w zależności od samego produktu, strategii reklamowej czy też grupy docelowej różne proporcje użycia języka i obrazu. Na odpowiednich przykładach reklamy niemieckojęzycznej zostają przedstawione komunikatywne, pragmatyczne i systemowe uwarunkowania reklamy, która jest kształtowana tylko za pomocą obrazu lub za pomocą tekstu. Znacznie szersze spektrum form i funkcji wyłania się z interakcji języka i obrazu. Tworzą one pięć nadrzędnych kategorii, które dopuszczają mniej prototypowe interakcje języka i obrazu. W tych kategoriach znajdują się relacje komentowania obrazu, ilustrowania języka, monosemantyzacji obrazu, wieloznaczności językowej oraz wzajemnej determinacji.

2

Lev Manovich (2020). Cultural Analytics

100%

Waszkiewicz-Raviv A.

Central European Journal of Communication

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2021

|

tom 14

|

nr 2(29)

350-352

3

Profile of Illustration in Children’s Literature Books Based on the Image Preferences of the Youngest Readers

100%

Mazepa-Domagała B.

The New Educational Review

|

2017

|

tom 49

223-235

EN

The presented paper is a result of research conducted on the issue of visual communication as an art supplement and explanation of printed content. The publication begins with a reflection on visual culture illustrating its polysemic character and referring to the iconic nature of images. Further, the paper describes the art of illustration and the value of visual communication in the form of book illustration. The last part of the paper attempts to present the structure of a well-designed illustration in the form of profiles, constructed on the basis of picture tendencies appear in a group of pre-readers.

4

Promotion of regional and traditional products

89%

Oleksiuk I. , Werenowska A.

Środkowoeuropejskie Studia Polityczne

|

2019

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nr 2

135-149

PL

Podstawowym celem studiów opisanych w artykule była analiza specyfiki procesów promocyjnych produktów regionalnych i tradycyjnych z wykorzystaniem oznaczeń regulowanych przez prawo europejskie: Gwarantowana Tradycyjna Specjalność (GTS), Chroniona Nazwa Pochodzenia (ChNP), oraz Chronione Oznaczenie Geograficzne (ChOG). Dokonano krytycznego przeglądu narzędzi promocji produktów tradycyjnych i regionalnych odnosząc się do roli ochrony prawnej oznaczeń wyrobów w UE. Zwrócono uwagę, że na kształt systemu promocyjnego i informacyjnego mają wpływ uwarunkowania społeczno-kulturowe, które oddziałują na rozpoznawalność i renomę produktów, co znalazło potwierdzenie w wynikach przeprowadzonych badań sondażowych. Na uwagę zasługuje istnienie korelacji jakości z tradycją, czego wyrazem były między innymi deklaracje dotyczące motywu wyboru tych produktów: poczucie dumy i kontynuowanie tradycji wybrało 45% badanych. Najbardziej rozpoznawalnym europejskim oznaczeniem był symbol Gwarantowanej Tradycyjnej Specjalności (38%).

EN

The main goal of the studies described in this article may be defined as an analysis of the promotional processes of regional and traditional products executed with the use of symbols regulated by European law: Traditional Speciality Guaranteed (TSG), Protected Designation of Origin (PDO) and Protected Geographical Indication (PGI). The analysis presented here and the trends in promotional activities deducted from it, primarily result from the specifics of the goods. The shape of the information system is also influenced by social and cultural factors decisive for the recognizability and renown of the products, which have been confirmed by the results of the questionnaire conducted for the study. What is worth noting is the correlation between quality and tradition, reflected, among other things, in declarations regarding the reasons for the choice of these products: the sense of pride and the willingness to continue the traditions were chosen by 45% of the survey participants. The Traditional Speciality Guaranteed (TSG) has proven to be the most recognizable European symbol (38%).

5

Wizualne parole. Epistolografia filmowa o Korespondencji filmowej pomiędzy José Luis Guerinem i Jonasem Mekasem

76%

Łukaszewicz-Alcaraz A.

Kultura-Społeczeństwo-Edukacja

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2016

|

tom 9

|

nr 1

29-41

EN

Recognition of the film in the space of communication has already some tradition, especially the structural semiotics. These considerations has presented us different methods of analysis of various levels or areas in which the film can be read through the prism of codes (images, speech, signatures, sounds, etc.), which are especially useful in artistic critics. However, what is most useful to think both about the film, and about contemporary reality is emerging in the structural semiotics of the cinema distinction between langue and parole – with reference to F. de Saussure used it Ch. Metz. Particular films are symbolic events, “speech acts”, acts of parole what is explicit in case of artistic communication via films, and in case films put in virtual space. In both cases they can be called after S. Worth as “Bio-Documentaries”, showing emotions, postures and values of their authors, and they are specific and essential to contemporary visual communication.

6

Psychologiczne prawo bliskości w perspektywie semiotycznej i lingwistycznej

75%

Kiklewicz A. , Kusse H.

tekst i dyskurs - text und diskurs

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2022

|

nr 16

89-113

EN

The authors discuss the possibilities of applying the law of proximity as one of the categories of gestalt psychology to describe the social communication. The first part considers the mutual determinants of sensory and cognitive processes, including the phenomenon of cognitive penetrability and the phenomenon of semantic priming. In the following parts, the authors show how the law of proximity is implemented in various types of discourses. In visual communication (especially in film and photography), the law of proximity is the basis of collage editing. The authors describe the principles by which semantic inference is made in such discourses. The law of proximity also significantly influences the processing of information in speech. In poetic texts, the compactness of the line sequence is based on this principle, i.e. what R. Jakobson defined as the transfer of equivalence from the selection axis to the combination axis. In artistic, journalistic or rhetorical texts, the proximity of words in the text contributes to the emergence of semantic implications, i.e. allusive meanings.

7

Wykorzystanie elementów kultury regionalnej w architekturze na przykładzie Zakopanego. Wprowadzenie Parku Kulturowego w przestrzeni ulicy Krupówki

75%

Mantyka M.

Środowisko Mieszkaniowe

|

2018

|

tom nr 23

72--84

PL

Romantyzm i fascynacja górami zapoczątkowała popularność Zakopanego, jako ośrodka turystycznego. Kultura Podhala, jego architektura i sztuka użytkowa stały się rozpoznawalnymi symbolami regionu, stanowiąc o niezwykłej skali zainteresowania Zakopanem i wpływając na jego rozwój urbanistyczny. Wizytówkowa ulica miasta, Krupówki, w przeszłości pełniąca bardziej formę modnego deptaku, po transformacji w latach 90, nabrała komercyjnego charakteru. W ciągu ulicy pojawiły się wielkoformatowe reklamy, punkty handlu z ręki do ręki, szyldy i plakaty oraz elementy małej architektury, często o niskiej wartości estetycznej i zupełnie niezwiązanych z estetyką otoczenia urbanistycznego. Po fali krytyki tego stanu rzeczy, która przetoczyła się przez media, w roku 2016 miasto wprowadziło obszar Parku Kulturowego dla Krupówek i przylegających ulic, którego głównym zadaniem jest ochrona lokalnych wartości regionalnych, a także poprawa jakości przestrzennej głównej ulicy Zakopanego. Celem artykułu jest identyfikacja i analiza typowych elementów architektury regionalnej Krupówek oraz przygotowanie wytycznych dla dalszej ochrony regionalnych wartości architektonicznych. Artykuł prezentuje także rezultaty przekształceń przestrzeni ulicy zgodnie z wytycznymi opracowanymi dla Parku Kulturowego.

EN

Romanticism and fascination with the mountains opened Zakopane to tourism. Its culture, folk art vernacular architecture became symbols of the region, making Zakopane highly popular and impacted its urban development. The most important heritage street – Krupówki, in the past fashionable boardwalk, was until recently the victim of its own popularity – building facades covered with advertisements that disfigured the streetscape. Billboards, posters, information boards, hand-to-hand sales, unlicensed street shows, and street – displayed goods were besieging the space and were in most cases not related to the regional culture. After the critique and nationwide media discussion local authorities in July 2016 initiated Culture Park, mainly to protect regional values and to better the overall image of the street. The aim of this paper is to identify and classify typical forms of regional elements of Krupówki street to formulate and prepare guidelines for the preservation of regional heritage. The paper will also present the transitions of the streetscape caused by Culture Park.

8

Behawioralne skutki komunikatu wizualnego – konsekwencje

75%

Baranowski P.

Przegląd Elektrotechniczny

|

2012

|

tom R. 88, nr 4a

223-226

PL

Stajemy się społeczeństwem informacyjnym, w znacznym stopniu opartym o system komunikacji wizualnej. Obraz działa inaczej niż słowo, wymaga innych warunków i powoduje inne konsekwencje. Autor zastanawia się jak obraz to robi, że skłania człowieka do działania i jaka jest rola oświetlenia w nowej kulturze obrazu.

EN

We become a society of information, largely based on visual communication system. The image acts differently than the word, requires different conditions and causes other consequences. The author wonders how the image influences human action and what the role of lighting in a new image-based culture is.

9

Wizualizacje jako wszechstronne, krajobrazowe narzędzie służące ekonomii, edukacji, ochronie i kreowaniu przestrzeni

75%

Żołnierczuk M.

Prace Komisji Krajobrazu Kulturowego

|

2016

|

tom nr 32

125--139

PL

Artykuł traktuje o różnych sposobach wykonywania analiz widokowych służących ochronie krajobrazu. Celem autora jest przedstawienie szerokiego zakresu wykorzystania wizualizacji stanowiących często punkt wyjściowy do dalszych analiz widoków i następnie do kształtowania zasobów wizualnych. Przedstawiono przykłady współczesnych sposobów analiz umożliwiających prawidłowe zarządzanie zasobami widokowymi odnoszącymi się do różnych form krajobrazów i ich elementów. Uwzględniono zarówno metody analiz na podstawie zdjęć, jak również cyfrowej kartografii, powiązanej niekiedy z trójwymiarowymi modelami terenu i sposobem jego użytkowania. Jak można zauważyć wykorzystanie technik opartych na systemach GIS, cechujących się dużą dokładnością, jest coraz szerzej stosowane w ochronie krajobrazu.

EN

The article discusses the various ways of view analysis, which can be use to protect the landscape. The aim of the author is to focus on the visualization element which is often a starting point for further analysis of the views and can be used to shape the visual environment. The examples of modern methods of analysis, which allow to proper economy of view, refers to different forms of landscapes and their components. It includes both methods of analysis based on images as well as digital cartography, sometimes associated with three-dimensional models of the terrain and the way of its use. As can be seen using techniques based on GIS systems, characterized by high accuracy, is widely used in the protection of the landscape.

10

Interpretation of a verbal-visual communication

75%

Habrajska G.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2017

|

tom 43

|

nr 5

131-146

EN

In contemporary internet-dominated everyday life, ever more often one faces communications which utilise both verbal (words) and iconic (images) codes. In the article, I analyse two types of said communications: advertisements and memes. Both advertising content and memes belong to journalistic discourse. Therefore, one can analyse them using the same methods as verbal opinion texts, which require one to specify the situational background, the specific situation, the persuasive/ propaganda aim, and to standardise arguments. At the same time, memes are included in comical discourse, to analyse which it is necessary to be able to juxtapose the actual image with the presented image.

11

Visual Code Across Borders. Visual Communication as the Answer to Intercultural Management Dilemmas

75%

Waszkiewicz-Raviv A.

Journal of Intercultural Management

|

2015

|

tom 7

|

nr 4

113-121

EN

The paper focuses on the visual communication channel and it’s practical implications to the intercultural management practice. Introducing theoretical framework provides arguments for the increasing role of the pictures in the image economy, where esthetics and visual branding are the core elements. Two main fields of business applications of visual channels are drawn in the article: external consumers communication and internal organizational communication. Author’s definition of visual marketing communication (VMC) is provided and the semiotic approach is recommended for the culturally rooted customer communication that increases consumption globally, while information design and infographics are the visual messages suggested for the second field, which is internal, employees communication management.

12

ANALIZY TRANSMEDIALNEGO OBRAZU „ZWYKŁEJ UCZENNICY” W RAMACH EDUKACJI MEDIALNEJ. CZY ONA MUSI MIEĆ WSZYSTKO FIOLETOWO-RÓŻOWE?

75%

Waszkiewicz-Raviv A.

Zeszyty Naukowe KUL

|

2015

|

tom 58

|

nr 3

13-24

EN

Media education is a term increasingly compelling media experts, particularly studying the phenomenon of media sphere saturated with visual messages . What competence have recipients, especially children and teenagers in contact with numerous messages seems the important area of research. Who is “Violetta”? Is it the transmedia girl idol of the Argentine series, which was popularized by Disney through numerous channels of integrated marketing communication ? Is she a regular girl from the suburbs or the media product? guide in the form of the NAMLE questionnaire with questions for the analysis of representation can be a tool to make the magic image more real. Article focuses on media iconosphere, first indicates some principles that govern visual perception, then presents the practical tool to analyze „normal teenagers” from the series „ Violetta „, which can be used for media education .

PL

Edukacja medialna jest terminem coraz częściej przykuwającym uwagę medioznawców, zwłaszcza badających fenomen mediosfery przesyconej komunikatami wizualnymi. To jakie kompetencje posiadają odbiorcy, a zwłaszcza dzieci i nastolatki w kontakcie z licznymi przekazami wydaje się istotnym obszarem badań. Kim jest transmedialny idol z produkcji serialu argentyńskiego, który wyprodukowała firma Disneya i następnie rozpropagowała licznymi kanałami zintegrowanej komunikacji marketingowej? Zwykłą dziewczyną z przedmieścia czy produktem medialnym? Przewodnik w postaci kwestionariusza z pytaniami do analizy reprezentacji może być narzędziem odmagicznienia obrazu. Artykuł koncentruje się na ikonosferze mediów, wskazuje jedną z zasad rządzących percepcją wizualną oraz prezentuje narzędzie do analizy obrazu „zwykłej nastolatki” z serialu „Violetta”, które może być wykorzystane do analiz w ramach edukacji medialnej.

13

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

75%

Władyka-Łuczak Z. , The University of Lodz F. o. P. , zet-zet@zet-zet.com.pl

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

tom 35

|

nr 5

EN

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

14

Sculpture as a Code – Rhetorical Devices Used by the Sculptor

75%

Władyka-Łuczak Z.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

|

2016

|

tom 35

|

nr 5

239-252

EN

The aim of the paper is to compare the formal organization of a visual message with the rhetorical devices used in a verbal message. This analysis is carried out based on the example of the sculpture Dual by Zbigniew Władyka. The creativity found in the rhetorical devices used in the sculpture Dual to trigger and amplify feelings proves that they can be employed even in this form of artistic expression. Creativity in the analysed sculpture is represented by German reunification, reflected in the form of the transformation of two characters into one. The sculpture is meant to inspire, to be an object (res) directing the viewer toward personal reflection, and invoking projections of fear and doubt, but also of confidence and courage. Confidence and courage are represented by a strong figure with a head, firmly standing on its feet. Fear and doubt are represented by a weak figure, carried by the first one. The centripetal composition used in the sculpture suggests merger rather than destruction. The sensory perception of the viewer is controlled by directional tensions, which lead the viewer’s sight along designated linear directions. As described earlier by Witkiewicz, directional tensions and motionless substance correspond to a rhetorical enlarging and diminishing. By interacting with the sculpture, you can experience these devices. Not only visualization is at work here, as in verbal communication, but also physical experience. The presented analysis shows that a sculptural work of art can be analysed in a similar way to verbal communication. Of course, not all verbal devices have their counterparts in visual communication, but the basic content and emotions can be expressed regardless of the code.

15

TECHNIQUES OF VISUAL COMMUNIACTION IN ARCHITECTURAL DESIGN

75%

Kowalczyk M. W. , Lewandowska A.

Journal of Education Culture and Society

|

2020

|

tom 11

|

nr 2

376-383

EN

Aim. The subject of the article are methods and techniques of architectural presentation to a diverse audience. The methods of architectural presentation as a key element in the dialogue with the future user of the designed space or building allow to present to the recipient the newly designed space to be created.Methods. The authors of the article present selected techniques of architectural presentation. The described ways of presenting the project were divided into material and virtual. The article discusses the most commonly used methods of architectural presentation such as: diagrams, visualization, physical model, virtual model, video, collage, analyzing their usefulness in terms of reliable communication in order to inform future users about planned changes. The authors describe in detail the use of architectural models as a technique used to present the project to both professional and non-professional recipients. The article discusses the pros and cons of each method.Results and Conclusion. The right choice of presentation method for the addressee allows for a better understanding of the presented idea and, as a result, for more informed choices made by the society, e.g. during public consultations, or by professional decision-making bodies in matters of public space and new architectural objects. The variety of methods of imaging the project vision available today has its individual features that favor or negatively affect the reception of works, by falsifying reality or its partial message.

16

Kaugõppe kujutamine COVID-19 pandeemia esimese laine meemides: huumor kui toimetulekuviis ja enesekaitsestrateegia

75%

Voolaid P.

Mäetagused

|

2021

|

tom 81

19-44

EN

Restrictions and special measures were imposed around the world to prevent the spread of the COVID-19 virus, one of the most important of which was certainly the reorganization of learning and work as a home-based activity. During the first wave of the COVID-19 pandemic, schools in Estonia remained closed from 16 March 2020 until the end of the schoolyear; further periods of countrywide distance learning were imposed also throughout the 2020/2021 schoolyear. The new way of life that accompanied the special situation was also reflected in widespread folklore, including internet memes. Defining memes as “(post)modern folklore” that expresses and shapes shared norms and values within communities, my article analyses the depiction of distance learning in Estonian memes, highlighting different points of view: the position of the students, the teachers, and the parents. The source data comes from the meme collection of the research archive of the Department of Folkloristics of the Estonian Literary Museum, which consists of more than 2,000 meme units collected during the crisis period. Some data were collected separately, for example, Tartu Variku School organized a meme competition “My distance learning” for the students of Tartu schools in April 2020 (541 memes). The comparative global collection (12,000 units) comes from the international project of corona folklore and -humour research “Humour during the global corona crisis” led by Giselinde Kuipers (Leuven Catholic University) and Mark Boukes (Amsterdam University); the project involves researchers from more than 30 countries. The study addresses the following questions: What local features emerge in distance learning memes that spread during the pandemic? How have students used other cultural resources in these memes (e.g. pop culture elements known from literature, cinema, music and other important cultural texts)? Whether and how these memes express, for example, family relationships (between children/youngsters and parents), school relationships (between students and teachers), what patterns of distance working are prevalent, etc. The meme material which has been inspired by distance learning is a fascinating contemporary subject that combines the challenging COVID-19 pandemic and distance learning as a characteristic feature of this period. Students who are the main creators of the memes regard the humorous memes about distance learning as a form of communication which offers an alternative and multifaceted perspective on this important method of learning during lockdown. The Estonian material is largely based on internationally known universal meme templates that have been adapted to the local language and cultural space. When investigating the social networks and universal motifs reflected in the memes, it is important to rely on the qualitative content analysis. It is worth noting that the subject of COVID-19 and the pandemic period are rarely explicitly mentioned in the memes. The egocentric or student-centred perspective that is characteristic of this specific material highlights the general attitudes and shared patterns that are based on opposition, which is typical of youth culture. The common pairs of opposition are me/classmates, student/teacher, and student/parent. The stereotypical roles reflected in the memes can be analysed figuratively via the ambivalent trickster figure, known from earlier folklore studies. Students are shown as cunning go-getters who use memes to discuss uncomfortable issues, mishaps, and problems. Stereotypically, the image of a teacher, but also that of a parent, is that of an authoritarian supervisor, a grade giver from the students’ perspective. This makes memes a highly important channel for schoolchildren to make their voice heard, either consciously or subconsciously. In the future, the material could be investigated in even greater detail from the aspect of youth language use and emotions, the interdisciplinary aspect, etc.

17

Komunikacja wizualna polskich muzeów wsi na Instagramie – próba typologizacji wybranych kont w świetle teorii 'placemaking'

63%

Najbor J.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

|

2024

|

tom 16

|

nr 2

51-69

EN

The main aim of the article was to analyze the ways of showing the countryside in the visual communication of selected Rural Museums in Poland. What images do they use to talk about their collections? To answer this question, a quantitative and qualitative analysis of visual content published on the Museums Instagram profiles was carried out. The whole research was placed in the context of the placemaking theory. The analysis allowed to draw conclusions regarding the media image of the notion of the countryside in the communication of important institutions.

PL

Głównym celem artykułu jest analiza sposobów przedstawiania wsi i wiejskości w komunikacji wizualnej wybranych muzeów wsi. Jakich obrazów używają instytucje, aby przekazać informacje o swoich zbiorach? Aby odpowiedzieć na to pytanie, przeprowadzono ilościową i jakościową analizę treści wizualnych publikowanych na profilach trzech muzeów na Instagramie. Całość usytuowano w kontekście koncepcji placemaking. Pozwoliło to na wyciągnięcie konkretnych wniosków dotyczących medialnego wizerunku wsi w komunikacji popularnych instytucji.

18

A visual analysis of the communication persuasive function in the coverage of the Russian Federation Victory Day parade

63%

Władyka-Łuczak Z. , Dobrosz K.

Wiedza Obronna

|

2022

|

tom nr 3

81--106

EN

This article is an attempt to present the visual persuasive mechanisms observed in official communications of the Russian Federation on the example of materials published on the website of the President of Russia (Russian: Президент России) concerning the events related to the Victory Day celebrations. After Vladimir Putin came to power - since the military parade in 2005, i.e. on the 60th anniversary of the end of World War II in Europe - it became the most important national holiday and a high-profile social event in Russia. The material analyzed in this paper illustrates the events that took place in Red Square in 2022, being even more interesting - as the paper’s authors intended- when realizing the historical and geopolitical context in which they were set. The starting point of the conducted visuality analyses was the tradition of Soviet avant-garde art of the first decades of the twentieth century, understood after Wassily Kandinsky as the relationship in which the point and the line remain in relation to the plane (Kandinsky 1986). It has been shown that in the visual messages presented, a conscious and planned management of the observer’s perceptual processes is carried out using these tools (point, line and division of planes). The dynamics of points and lines distribution on the plane, the perspective used, the way the narrative is built, geometrization and symmetry - in our understanding - in terms of visual propaganda mechanisms of strength, power and unity of the Russian Federation.

19

Kompetencje wizualne w praktyce edukacyjnej

63%

Wieczorek-Tomaszewska M.

Biblioteka i Edukacja

|

2014

|

nr 5

PL

Społeczeństwo 21. wieku staje się bardziej wizualne niż tekstowe. Ta transformacja spowodowana jest wszechobecnością obrazów i mediów wizualnych ingerujących w życie człowieka. Nowe technologie spowodowały, że każdy może obecnie swobodnie korzystać z treści wizualnych, a także tworzyć nowe formy wypowiedzi. Wyobraźnia nie jest już tylko uzupełnieniem innych postaci informacji lecz wkracza na etapie wstępnego formułowania treści. Może wzbudzić duże umiejętności interpretacyjne wtedy, gdy ludzie zostaną wcześniej przygotowani do tego, aby krytycznie oglądać, wykorzystywać i tworzyć treści wizualne. Kompetencje wizualne pozwalają na pełne uczestnictwo w kulturze i zaangażowanie w życie społeczeństwa zorientowanego wizualnie. Artykuł przedstawia ich analizę w kontekście akademickiej praktyki edukacyjnej.

EN

Society of the 21st century becomes more visual than text-oriented. This transformation is due to the omnipresence of images and visual media that interfere with a person's life. New technologies mean that now anyone can freely use the visual content and create new forms of expression. Imagination is not only a complement to other forms of information, but it is entering the stage at the initial process of content formulation. It can awaken great interpretive skills when people are already trained to critically view, use, and create visual content. Visual competences enable full participation in culture and commitment to the life of the visually oriented society. This paper presents the analysis of such competences in the context of academic educational practice.

20

PROBLEM RECEPCJI NA ZACHODZIE NAUKI O OBRAZACH SOBORU NICEJSKIEGO II

63%

Chełstowski D.

Zeszyty Naukowe KUL

|

2017

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tom 60

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nr 2

389-408

EN

The teaching of the Second Vatican Council of 787 on the cult of images has never been fully absorbed by the Western Church. This legacy is particularly relevant today, in the era of image and visual communication, whose use in evangelism seems to be a requirement of our time. It is therefore necessary to conduct a second deeper reflection on the place and role of the sacred image in the Church, and to reach out to the sources, still valid and not fully accepted, the doctrine elaborated by this Council.

PL

Nauka Soboru Nicejskiego II z 787 roku dotycząca kultu obrazów nigdy nie została w całości przyswojona przez Kościół Zachodni. Jednak spuścizna ta jest aktualna szczególnie dziś, w erze obrazu i komunikacji wizualnej, których wykorzystanie w ewangelizacji wydaje się być wymogiem naszych czasów. Dlatego też konieczne jest przeprowadzenie po raz wtóry głębszej refleksji nad miejscem i rolą świętego obrazu w Kościele, a także sięgnięcie do źródeł, wciąż aktualnej i nie do końca przyjętej, doktryny wypracowanej przez ten Sobór.