Wyniki wyszukiwania - Biblioteka Nauki

1

Pavel Zahrádka (ed.): Estetika na přelomu milénia

100%

Ciporanov D.

Filosofický časopis (Philosophical Journal)

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2014

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tom 62

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nr 2

237-263

EN

Pavel Zahrádka’s anthology offers a choice of translated studies in aesthetics and provides (and to a certain extent also, naturally, creates) a picture of the contemporary state of such studies based on the character of interdisciplinary work. The collection, which is gathered into nine thematic sections, covers such key themes as philosophical aesthetics and questions of the recently instituted (copyright as a philosophical-aesthetic problem) or the resurrected (the aesthetics of nature). It presents a rich palette of approaches, methods and themes which makes up the field of contemporary aesthetic research. This review study offers a commentary on the overall concept of the collection in the context of analogous foreign publications and gives a résumé of individual thematic sections, while it focuses in detail on select parts of the anthology, which represent a relatively contemporary understanding of the traditional key problems of general aesthetics (ontology, definition and the value of art).

2

Why We Need a Theory of Art

88%

Monseré A.

Estetika: The Central European Journal of Aesthetics

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2016

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tom 53 (New Series: 9)

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nr 2

165-183

EN

In this article, I argue against Dominic McIver Lopes’s claim that nobody needs a theory of art. On the one hand, I will demonstrate that Lopes’s alternative to theories of art – namely, the buck-passing theory of art – is neither more viable nor more fruitful: it is likewise incapable of resolving disagreement over the status of certain artefacts and of being fruitful for the broader field of the arts. On the other hand, I will defend the view that we are in need of a viable theory of art. The concept of art has a profound impact on our cultural practices. Concepts of art in use now showcase biased and arbitrary features. Correspondingly, certain artefacts and practices are excluded from the domain of art without adequate justification. Therefore, I will argue, it is unwarranted to abandon the search for a viable theory of art.

3

Koncepcja aury immanentnej

88%

Rudnicki C.

Estetyka i Krytyka

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2013

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nr 3(30)

99-116

XX

This article is devoted to the concept of „immanent aura.” In the first, historico-philosophical part, I discuss the theory of art presented by Gilles Deleuze and Felix Guattari in the work What is Philosophy? In the second part, using concepts taken from these philosophers, I analyze selected works, included in the entertainment culture (inter alia black and viking metal music as well as computer games). I try to demonstrate that they can be considered as works of art, because they meet the requirements imposed by Deleuze and Guattari. In the last part I argue with the Benjamin’s concept of “aura” of the work of art, to show that mass reproducibility and availability does not lead to the disappearance of the aura but its transformation: from transcendent the aura becomes immanent.

4

The notion of nature in modern music theory and history as seen hy Carl Dahlhaus and Karol Berger

88%

Jarzębska A.

Interdisciplinary Studies in Musicology

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2009

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nr 8

93-108

PL

Modern music theory, ignoring the problems connected with the subject’s auditive experience but referring to the objective laws of nature, was criticised by Carl Dahlhaus, although he accepted - to a certain extent - the hypothesis of historical determinism. Dahlhaus links this turning point in the history of reflection on music with the transition from the ‘ontological contemplation’ of the Tonsystem to the ‘aesthetic contemplation’ of the Tonkunstwerk, the fundamental characteristic of which is the idea of ‘wholeness’ (die Idee der Ganzheit). The new conception of the discourse on the theory and history of modern music proposed by Karol Berger in his book A Theory of Art (2000) bears testimony to crucial changes in the contemporary humanities linked to the so-called ‘cognitive revolution’. According to Berger, the fundamental characteristic distinguishing modern art from premodern art is its autonomy. Berger distances himself from the modern tradition of theoretic- aesthetic discourse treating the work of art, including the work of music, as an axiologically neutral entity independent of ‘human nature’, that is, of the functioning of our memory, imagination and cognitive mechanisms, and also not having a specific social function. At the centre of Berger’s theoretical interests is aesthetics, as broadly understood, coupled with ethics and history, poetics and hermeneutics. He is not interested - like Dahlhaus - in considering ‘what art is’ or ‘what music is’ , but poses the question: ‘What should the function of art be, if art is to have a value for us ?’

5

Leon Chwistek's Theory of the Plurality of Realities in Art - Psychological Foundations

88%

Bednarz G.

Studia Humanistyczne AGH

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2018

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tom 17

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nr 1

EN

In my article, I briefly present the axioms of Leon Chwistek’s theory of manifold reality (TMR). This theory is the basis of his theory of art (TMRA). The aim of my article is to present and discuss psychological foundations of Chwistek’s theory of art. In particular, I present and discuss: (1) two meanings of the notion “work of art” derived on the basis of two relations: work – experience of enthusiasm, and work – aesthetic experience; (2) two meanings of the notion “content of the work of art”; (3) relations between the axioms (beliefs) of TMR and means of every type of art contained in TMRA.

6

Zakres sztuk wizualnych w Indiach klasycznych

76%

Banasik B.

Studia Azjatystyczne

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2016

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nr 2

7-19

EN

The objective of this paper is to identify and define the main differences in modern Western and Classical Indian approaches to the theory of art, and by extension to the work of art itself. It is important in research on the history of art to avoid a cultural bias resulting from different theoretical approaches towards art and the basis of visual culture. Three main areas are examined: the classification of art or art disciplines, the theory of the senses and strategies in the perception of art. The first part analyses concerns about the origin of art, its boundaries and inner divisions. This serves top identify the scope of the Field of Art, connections between disciplines (theatre, music, painting, sculpture, etc.), and their position in the Art World. The following Sanskrit treatises serve as a basis: Nāṭya-śāstra, Kāma-sūtra, Viṣṇu-dharmôttara-purāṇa. A significant distinction can be found in the theory of the senses. Based on Saṃyutta Nikāya, Nyāya-sūtra, Vaiśeṣika- sūtra, etc. classical concepts of sensual perception and their roles are examined, with special emphasis on the position of the mind (manas) as a sixth sense or inner organ linked to senses. With that background, a brief analysis of the theory of taste (rasa), including the roles of emotion (bhāva) and mind (manas), is presented.

7

O twórczym przekraczaniu granic. Przetworzenia i reprezentacje w przestrzeni sztuki

76%

Szczęsna E.

Przestrzenie Teorii

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2019

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nr 31

209-226

EN

The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the semiotic and media borders that are essential for the semiotic sphere of one artistic genre for the semiotic and media sphere of the other. The article refers to examples taken from literature, film, sculpture and painting.

8

Karol Kuzmány: On Beauty

75%

Sošková J.

Estetika: The Central European Journal of Aesthetics

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2010

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tom 47

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nr 2

215-238

EN

This short essay by Karol Kuzmány (1806–1866), a founding father of Slovak aesthetic thinking, was written in Czech and published in 1836 in Hronka, a periodical edited by the author. In the essay, Kuzmány follows on from the thinking of his teacher at Jena, Jakob Friedrich Fries (1773–1843), particularly Fries’s theory of Ahn(d)ung (intuitive awareness). In the introduction, Kuzmány emphasizes that his concern is to bridge the gap between the theory of imitation and the theory of art based on imagination. In the first part of the essay, concerning general aesthetics, Kuzmány presents his theory of beauty – the feeling of the essence of things through perception by the mind (Anschauung or intuitus mentis); the basic idea – truth, the moral good, and beauty – according to Kuzmány, comprises the idea of religion in the broader sense – Humanität, humanitas. Rather than the opposite of beauty, the sublime constitutes beauty’s being raised to a qualitatively higher level: it is based on a contemplated intuitive awareness, which is itself felt. The second part of the essay consists of Kuzmány’s attempt to define art and to categorize kinds of art and genres of poetry. He distinguishes between unmediated art, which represents beauty to the external senses, and mediated art, which is aimed at inner feeling. The latter category includes poetry, which is, according to him, the supreme art, for it can, with the help of language, represent all forms of unmediated art as well. Kuzmány also devotes himself to a speculative justification of its genres, poetic style, and verse.

9

Sztuka gier wideo. Wybrane aspekty badań nad estetycznością i artyzmem gier komputerowych

63%

Strużyna A.

Homo Ludens

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2015

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nr 1(7)

213-226

PL

Autor podejmuje problematykę różnorodności stanowisk krytycznych w badaniach nad estetycznością i artyzmem gier wideo (stanowiska te są częścią pluralistycznego dyskursu nad sztuką gier komputerowych). W artykule zestawione zostają sądy i teorie reprezentujące różne sposoby traktowania kategorii estetyczności i artyzmu gier wideo, ze szczególnym uwzględnieniem argumentów negujących i aprobujących istnienie sztuki gier komputerowych. Obok zarysu genezy artystycznych gier wideo podejmowana jest refleksja nad teorią badań sztuki gier komputerowych w odniesieniu do teorii sztuki Ryszarda W. Kluszczyńskiego oraz Josepha Margolisa.

EN

The article deals with the diversity of critical attitudes in the study of the aestheticism and artistry of video games (the attitudes in question form part of the pluralist discourse on video game art). The paper juxtaposes judgments and theories that represent various ways of treating the categories of the aestheticism and artistry of video games, with a particular focus on arguments denying and affirming the existence of the art of video games. Besides providing an outline of the origin of art video games, the author also undertakes to reflect on the research theory of video game art in relation to the theory of new media art by Ryszard W. Kluszczyński and the theory of art by Joseph Margolis.

10

Myśli, zmysły i emocje. Próba dyskursu o syntezie sztuk i jej percepcji

63%

Solewski R.

Estetyka i Krytyka

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2010

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nr 17-18

61-79

EN

After defining the term synthesis and possible use of this word in the theory of art, the author concentrates on various visions of the „Community of Arts”. Description of the philosophical conception of the primeval syncretistic culture, destroyed by – among the others – partition of art into selected domains introduces the ideas to reconstruct universal art especially in the theatre (e.g. Richard Wagner, theatre reformers at the beginning of the 20th century, happening). Afterwards the author demonstrates the basic artistic elements uniting arts and proper to investigate the synthesis of arts phenomenon. Concentration on an artist, turns the attention not only to multitalented creators but also to a problem of the different or similar ways of expression in various domains (e.g. poetry and painting), as well as to the issue of a „creative impulse”. The artwork constructed in a chosen place and specific time, in one style and with one iconographic program, is the most visible base of the synthesis (e.g. in architecture and applied arts, understood as the cooperation of artists or in the contemporary, transgressive and multimedia installation). The situation indicates also the elementary aesthetic problems of the most common determinant of artistic character of the work and the role of the reception and interpretation by the recipient. This element of an artistic process reminds about the role of the aesthetic experience as the final „common place” of every artistic activity (e. g. represented in the romantic considerations on synaesthesia, in the issue titled „ut pictura poesis” or in the „fusion of horizons” conception). Finally, the author stresses the role of recipient’s intellectual activity and cognition as the necessary element and the proper space of the synthesis of arts. The text ends with the reflection about the advantages of the investigations of the synthesis problems for the general questions concerning the art.

11

Racjonalność sztuki a etnologia Bronisława Malinowskiego. Przypadek czółen Masawa

63%

Kisielewski A.

IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych

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2017

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tom 29/2

EN

This article is a kind of journey to the origins of art, to its primordial state. In other words this text can be seen as a kind of archeology of art. The article aims to examine a very famous ethnological work by Bronisław Malinowski titled Argonauts of the Western Pacific. This is a testimony of Malinowski's contact with the most primordial state of art in situ, in direct context of culture with the indigenous villagers from the Trobriand Islands. Some claim that the celebrated Polish ethnologist has written little on indigenous artistic culture, however, if we read his book as an anthropological ekphrasis on art, then we can find very interesting narration on primordial state of art.

12

The Beginnings of Art History and Connoisseurship Studies in Ancient China

63%

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.

13

Analiza krytyczna podstaw teorii wielości rzeczywistości Leona Chwistka

63%

Bednarz G.

Estetyka i Krytyka

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2017

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nr 1(44)

25-38

EN

The aim of the article is to present a few criticisms of the foundations of Leon Chwistek’s philosophy. Completeness postulate, imposed on all correct philosophical systems by Chwistek, and which is supposed to be in conflict with conventionalism, is criticised. Correctness of some Chwistek’s axioms is called into question. Axioms for six intermediate realities are given. I argue in favour of model theory interpretation of manifold reality.

14

Czego nie napisał Władysław Strzemiński jesienią 1934 roku?

63%

Konstantynów D.

Biuletyn Historii Sztuki

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2021

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tom 83

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nr 1

153-171

EN

In Władysław Strzemiński’s Writings (published 1975) the article Blockade of Art (first edition: ‘Gazeta Artystów’ 1934, No. 3) featured an incorporated fragment of another text that could be found on the same page of the periodical: of Political Section (Odcinek polityczny) by Zenon Drohocki. The error resulted in the fact that researchers using the reprint of the Blockade of Art considered that Strzemiński’s statement as the artist’s only, yet extremely radical political declaration. The paper is to demonstrate why even without confronting the reprint with the first edition, the Blockade of Art in the version contained in the Writings cannot have been written by Władysław Strzemiński.

PL

W Pismach Władysława Strzemińskiego (wyd. 1975) do artykułu Blokada sztuki (pierwodruk: „Gazeta Artystów” 1934, nr 3) został dołączony fragment innego tekstu znajdującego się na tej samej stronie czasopisma – Odcinka politycznego autorstwa Zenona Drohockiego. Pomyłka ta sprawiła, że badacze korzystający z przedruku Blokady sztuki uznali tę wypowiedź Strzemińskiego za jedyną, ale niezwykle radykalną deklarację polityczną artysty. Celem artykułu jest pokazanie, dlaczego nawet bez konfrontowania przedruku z pierwodrukiem Blokada sztuki w wersji zawartej w Pismach nie mogła być napisana przez Władysława Strzemińskiego.

15

Sztuka pierwotna w czterech odsłonach. Uwagi o antropologii sztuki Lewisa H. Morgana, Franza Boasa, Aby’ego Warburga i Ruth F. Benedict

51%

Kisielewski A.

Ars inter Culturas

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2019

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tom 8

15-34

EN

These remarks are intended as to recall testimonies of the contact of people of the West with art called primordial or primitive in its natural cultural environment. The goal is here also to “refresh” thinking about art, as well as to look at the ways of recognition of primordial art at the turn of the twentieth century, the representation of which are the classic texts by the field researchers referred to in the title of these remarks. The selection of the texts is not accidental here, because they are connected primarily by the thread of the art of Indigenous communities of North America.

16

Artysta w koncepcji Jana Pawła II w Liście do artystów

44%

Tytko M. M.

Religious and Sacred Poetry: An International Quarterly of Religion, Culture and Education

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2013

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nr 2(2)

117-142

PL

Tekst ukazuje koncepcję człowieka artysty w twórczości papieża Jana Pawła II. Artykuł jest tekstem opartym o źródła. Głównym źródłami jego myśli na temat artysty są dla nas dwa teksty: tzw. „Ewangelia a sztuka” i tzw. „List do artystów”. Inne teksty Jana Pawła II są tylko dopełnieniem (uzupełnieniem) dla tych dwóch głównych tekstów źródłowych. Autor artykułu analizuje idee (koncepcje) człowieka-artysty w Liście do artystów, specjalnie w kontekście ogólnej koncepcji (ogólnego zarysu) kultury w opisach dokonanych przez Jana Pawła II (to jest nowością w tekście). W artykule znajdują się bardzo ważne cytaty (cytowania) z jego oryginalnego polskiego tekstu. Autor użył historiograficznej metody w swoim studium.

EN

The text shows the idea of an artist in creativity according to Bl. John Paul II. This article is a source-based text. Main sources of his thought about an artist are for us two texts: so called „Ewangelia a sztuka” (“Gospel and Art”) and so called “The letter to artists”. Another texts of John Paul II are only complement (supplement) for this two mainly sourced texts. An author of this article analyses ideas of a man – an artist, especially in the context of general outline of culture in descriptions done by John Paul II (this is novelty in this text). There are some very important quotations (citations) from his original Polish texts in the article. The author used historiographical method in his study.