Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 6

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

Religijność sztuki. Simone Weil aesthetica crucis

100%
Krupiński J.
Estetyka i Krytyka
|
2011
|
issue 1(20)
105-121
EN
The author reconstructs Simone Weil’s aesthetica crucis. Questions supposed to be specific to the aesthetics or the art philosophy in Simone Weil’s thought are undertaken as the most fundamental questions about origins and boundaries of human being. The concept of beauty is inherent to her theological, eschatologal, or metaethical insights, for the beauty and its experience is related to the very essence of reality and human condition: The Cross (contradictions, antinomies, oppositions as the suffering/affliction).
2
Content available remote

Jedność sztuk i życia. Norwida teoria estezy

100%
Krupiński J.
Estetyka i Krytyka
|
2010
|
issue 17-18
179-192
EN
Basing on the interpretation of Cyprian Kamil Norwid’s poems and other works the author presents the observation that a human being appears and exists when is being perceived. It means that the process of seeing is the creative act. The artist’s gaze described by the poet provides the perfect example of the interrelation of being, being seen and creating by seeing. It also stresses the role of dialogue in becoming human. Such an artistic activity bridges the gulf between the world of ideas and the real life. It is a part of the real life and the pattern for creative living as a human being.
3
Content available remote

Światło i ciemność – Czarne kwadraty Kazimierza Malewicza

100%
Krupiński J.
Estetyka i Krytyka
|
2015
|
issue 4(39)
7-26
4
Content available remote

Determinanty dzieła sztuki jako continuum obrazów

100%
Krupiński J.
Estetyka i Krytyka
|
2013
|
issue 1(28)
59-82
EN
A work of art exists through images. The determinants of a work of art seen as an image are the following: vision; the carrier of the image, the object produced and/or the chosen artefact; the surroundings of the carrier, in which it is placed; the functional context of the work the “subject” of the image, i.e., what is seen, the thing portrayed in the image; the world of the “subject” of the image; the onlooker, the viewer of the image; the “ideatic” context of the image, and of its subject in particular (“the world of ideas”). Essentially, the category of “image” determines the character of a work of art. Yet on a more basic and original level, it determines the very way the human world exists, and human beings themselves. Thus art becomes significant for human beings.
5
Content available remote

Kwiaty Stanisława Wyspiańskiego. Mistyczne doświadczenie dramatu istnienia

100%
Krupiński J.
Estetyka i Krytyka
|
2008
|
issue 13-14
13-46
EN
This essay discusses several motifs derived from Stanisław Wyspiański’s thoughts: the signif icance of category decorative elements in art, critics of ideal ‘pure form’, inquisitive look at the nature of ‘existence’ and ‘being’, existential drama of ‘being a torch’, feelings of compassion in a context of beauty. In Wyspianski’s philosophy of art, floral elements, such as experience of a ‘flowery lover’, became a crucial element of his works. It includes his view of compassionate, merciful love which allows combining human drama of existence with metaphysical sense of existence. Wyspianski’s floral ornate monogram SW reflects his sense of identity.
6
Publication available in full text mode
Content available

Autotelizacja designu - autonomia formy. Krytyka mitu przeznaczenia

100%
Krupiński J.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2017
|
vol. 23
196-213
EN
Janusz Krupiński Autotelization of design – the autonomy of form. Criticism of the myth of destiny The significance of the spectacularness in design is connected with a dispute over the relation of form and function of objects. Functionalist postulate requires criticism of objectivity and the derivative of form with respect to function-destination (purpose, needs, etc.). As a category of design, form is subjective a category. In artistic process, not only the function is born with the form, and its weave does not have a dichotomous character, but the form itself becomes a value. Design, in essence, is not so much a means to the attainment of the objectives, but, by its form (in its form), it carries the irreducible, supra-rational quality of objects – including those ‘spectacular’ qualities. This all allows us to claim that the design emerges as a specific field, in relation to which not only ideas of decorative arts, applied arts, utility or design but also industrial design are inadequate ideas. The concepts of autotelization and the myth of destiny introduced here allow to define design – the idea which defines it and the meaning of its existence.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.