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Ile jest sztuki w terapii przez sztukę? Wielogłos specjalistów o teoretyczno- -praktycznych aspektach arteterapii
(Wydział Sztuki UR, 2018-12) Steliga, Anna
Creation 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.
“One by one we look at them”. The experience of an encounter with a religious image in poems by Jakub Ekier
(Wydawnictwo Uniwersytetu Rzeszowskiego, 2014-12) Szewczyk-Haake, Katarzyna
The poems by Jakub Ekier constitute a case that is quite rare in contemporary poetry: the case when poems referring to religious paintings build, via those paintings, their own way to the truths of faith and the truths about faith. The analysed texts indicate the difference between the painting material, which makes use of light and silence, and the poetic element; at the same time it is an act of looking at an old master religious painting that becomes an inspiration for the effort to express in language the spiritual experience of modern man. The poems analysed here, and dedicated to works of religious art, do not quite fit the typologies of ekphrasis that are the most commonly applied in Polish literary studies. This is due to the multiple levels deliberately created by Ekier in his poetry, although to some extent such is probably the specificity of a larger group of ekphrases concerning religious paintings. Poetic texts referring to such works of art touch both the substance of the representations (the biblical history) and the specificity of works of visual art, capable of expressing the biblical events using their own, specific means. In the presence of both of those spheres, language – particularly the language of modernity, increasingly diverging from the sacred – is to a certain extent helpless. By means of “in-effective reference” whose object is an old master religious painting, a poem is, however, able to say something important both about the modern reading of old masterpieces and about modern religious experience, for which the common denominators are the hermeneutical conviction of an inalienable character of one’s own cognitive horizon and constant attempts to cross it.