Warstwy Nr 2 (2018)
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- PozycjaOd „futuryzacji” do „No future”. Futuryzm i ruch punk jako samobójstwo kultury(Wydział Sztuki UR, 2018-12) Juszczyk, AndrzejThe article focuses on comparing two distant phenomena in Polish culture: futurism and the punk movement. Formal similarities at first glance may not be striking, but the sense of the “punk” movement largely places it as the inheritor of a kind of anti-culture, created by the futuristic movement and aimed at the economic and cultural establishment. The article presents key features of futurism and punk culture: negation of tradition, aesthetic and moral anarchy, ideology of youth, radicalism and ostentation in activities. As a result, both phenomena turn out to be a manifestation of youth non-conformism caused by a specific social situation.
- PozycjaWybrane zjawiska sztuki renesansu a przemiany samowiedzy człowieka epoki nowożytnej w ujęciu Charlesa Taylora(Wydział Sztuki UR, 2018-12) Nowicki, PawełThis article aims to discuss Charles Taylor’s views included in Sources of the Self, concerned with the changes in European art during the Renaissance presented as an outcome of the changes in the understanding of human identity. The author’s significant assumption is a thesis that historical changes in human self-knowledge find a reflection in art, especially in the construction of a painter’s plan, the position of an observer, the manner in which the observed object is presented. The answers to the questions: Who is looking? Where does the perspective open? etc. are vital for analyzing works of art treated as exempla of anthropological and epistemological problems. Important points of reference next to Taylor’s Sources of the Self are H. Wölfflin’s Principles of Art History, N. Elias’s Involvement and Detachment and Ch. Taylor’s Diálogos Taylor y Bernstein.
- PozycjaVeritas sequitur esse rei... Biczowanie Piero della Francesca Diegesis w Pamięci Włoch Wojciecha Karpińskiego(Wydział Sztuki UR, 2018-12) Trygar, BarbaraThis article is concerned with the text A Memory of Italy by Wojciech Karpiński, in which the author refers to the painting Flagellation by Piero della Francesca. The author of the article analyzes Karpiński’s reflections on the painting in the context of the philosophy of Saint Thomas Aquinas. In the painting the linear structure is important (the methodology of mathematical proceedings, among others according to Plato), the situation, the degree of distance which determines the perception of things, people and the world in the literal, spatial, and also metaphorical and psychological sense. The sensual cognition of corpus mysticum Christi is the starting point of epistemology, a key moment of the theory of the cognition of God.
- PozycjaSłowo-obraz w przestrzeni. Poezja w projektach site-specific. Komentarz do twórczości Joana Brossy oraz Iana i Aleca Finlayów(Wydział Sztuki UR, 2018-12) Hołody, Miłosz; Krzosek-Hołody, MagdalenaThe article explores the role of visual poetry in site-specific projects. The authors analyze the contribution of avant-garde movements of the second half of the 20th century to the development of object-poems and their migration into the landscape and public space. They focus on the heritage of futurism, land art. and contextual art. The paper presents classic works of Ian Hamilton Finlay and Joan Brossa as well as recent projects by Alec Finlay.
- PozycjaPożytki z teatru. Na przykładzie realizacji teatralnych Artura Żmijewskiego i Zorki Wollny(Wydział Sztuki UR, 2018-12) Sawicka, JadwigaThe article discusses using theatre in the practice of visual artists based on the cases of two artists. It presents different goals with which that medium has been used: in the staging of a Catholic Mass in theatre by Artur Żmijewski, and in playing the role of Ophelia by eleven actresses of different ages in a performance directed by Zorka Wollny. Considering the previous work of the two artists, one may say that theatre-related projects have been part of the interests and practice of both of them. They are both interested in working with people, yet the aim of Żmijewski’s experiment was affecting the audience and Wollny’s one – emancipation of the actresses and the text.
- PozycjaO artystycznym i estetycznym pożytku z kategorii warstwy. Przyczynek do ontologii dzieła sztuki Nicolaia Hartmanna(Wydział Sztuki UR, 2018-12) Mordka, ArturThe article attempts to analyze the aesthetic and artistic meaning of the layer category. The author has chosen it as the subject of his analysis, as it is part of the research on aesthetics by Nicolai Hartmann; however, it can also be used to clarify the creative process. The first part of the article discusses the notion of a layer that Hartmann uses, moving on to the considerations which include the unity of a work of art, its manner of existence and sensual (visual) appearance of irreal content.
- PozycjaDialogi, mosty...(Wydział Sztuki UR, 2018-12) Sawicka, Jadwiga
- PozycjaWładza nad martwą naturą. Cézanne Herberta(Wydział Sztuki UR, 2018-12) Adamowska, JoannaThis article is an interpretation of Zbigniew Herbert’s poem Still Life, taking into account a lot of contexts, e. g. the references to Cézanne’s life, work and its reception present in the poem, Herbert’s other opinions on the artist’s work, as well as the earlier interpretations of the poem (by Roman Bobryk and Magdalena Sniedziewska). The author of the article shows how in the poem on Cézanne Herbert presents one of the major problems of his own work, i. e. the relations between art and transcendence, between the divine and the human.
- PozycjaAsceza utraty – asceza nadziei. O rysunkach Zbigniewa Herberta(Wydział Sztuki UR, 2018-12) Makiel-Hędrzak, MarlenaZbigniew Herbert’s oeuvre, apart from literature, includes a number of sketchbooks, in which the poet-traveler noted down important aspects of places and works of art. What fascinated him the most was drawing, in which Herbert used characteristic, synthetic form. The fascination with letters, their forms, and further – inscriptions, is manifested here in examining the line as the most direct notation. That sphere of the poet’s work was an open dialogue with the themes of poems, completing them as it were. Both in poetry and in visual arts Herbert was interested above all in the correspondence of thoughts, in a dialogue without time limits, as thoughts and feelings are not hermetic; one cannot close them in temporal forms, they are usually dialogical. The drawings use the line which simultaneously names, synthesizes, experiences emotions, asks questions, contemplates, playing the role of a sui generis ekphrasis of nature and things.
- PozycjaIle jest sztuki w terapii przez sztukę? Wielogłos specjalistów o teoretyczno- -praktycznych aspektach arteterapii(Wydział Sztuki UR, 2018-12) Steliga, AnnaCreation has been inextricably connected with human activity. Therefore we can, and even should, call every human a creator. These considerations have been narrowed down to a group of artists with mental disorders. Schizophrenics create as a result of their own creative needs, but also as part of art therapy. This article includes a series of opinions on art therapy: reflections on mutual relations of art and therapy voiced by experts, i. e. psychiatrists, visual artists, pedagogues, art teachers, special needs educators and art psychologists. The text also discusses the fields of art which are most frequently used in art therapy. i. e. drawing and painting. The artwork of people with mental disorders shows their mental state, presents their inner world, and art therapy can help them to improve the communication with the outer world and with themselves.
- PozycjaKto mówi – miejsce autora w filmie(Wydział Sztuki UR, 2018-12) Iskra-Paczkowska, AgnieszkaThe category of the „author” in art can be considered in a descriptive or normative sense. In the normative sense it was introduced by the so-called „author’s politics” from the 1950s and 1960s. In the descriptive sense, it is the choice of the narrative model – ”transparent” or „author’s”. The inspirations for the cinema were both self-themed threads (in the film), and the other arts: painting and literature. In conclusion, the author attempts to answer the question, what is the status of the author in contemporary cinema.
- PozycjaONNA – piękno, siła, ekstaza. Drzeworyty i malarstwo japońskie z kolekcji Muzeum Narodowego w Krakowie(Wydział Sztuki UR, 2018-12) Lech-Bińczycka, Agnieszka
- PozycjaPrzedmioty protestu. Kultury materialne współczesnych ruchów społecznych(Wydział Sztuki UR, 2018-12) Ślosarski, Bartosz
- PozycjaPolki, Patriotki, Rebeliantki(Wydział Sztuki UR, 2018-12) Iskra-Paczkowska, Agnieszka
- PozycjaCichy memoriał(Wydział Sztuki UR, 2018-12) Andrejkow, Arkadiusz
- PozycjaKrajobrazy, Strefy, Tablice. Jonasz Stern – abstrakcja biologiczna (w 30. rocznicę śmierci – przypomnienie)(Wydział Sztuki UR, 2018-12) Łątkowski, MarekThe article concerns the painting projects by Jonasz Stern, an artist whose work is part of the current of meaningful abstraction. His collage compositions present variants of seeing what gives in to transition and dematerialization. They are made up with diverse means and natural materials, opening peculiar visual spaces, with structures made up of animal bones, fish bones and skins and bird feathers. Stern’s artistic life is evidence of verifying avantgarde through a creative struggle with personal fate. What significantly influenced his art was a dramatic event from his life – surviving an execution and escaping death in the Janowski camp in Lviv. 2018 is the 30th death anniversary of the artist, who died on 2 August 1988 in Zakopane, two days before his 84 birthday.
- PozycjaO publikacji WARHOL. POP KONTEKSTY 30 lat później(Wydział Sztuki UR, 2018-12) Steliga, Anna
- PozycjaNoty o miejscu(Wydział Sztuki UR, 2018-12) Pasterski, Janusz
- PozycjaPracownia Druku Cyfrowego Wydziału Sztuki UR(Wydział Sztuki UR, 2018-12) Janowska-Augustyn, Joanna
- PozycjaCzęści i całość(Wydział Sztuki UR, 2018-12) Iskra-Paczkowska, Agnieszka
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